When people think of Rob Zombie, most people focus on one of two paths that he has taken. Either they focus on his musical career, which includes his self-titled band or, if we go back in time a bit, the heavy metal hitters White Zombie, or they focus on his film career, which includes such titles as Halloween, House of 1,000 Corpses, The Lords Of Salem, and more. Personally, I’m in the former group.
I grew up blasting White Zombie and Rob Zombie, relishing the horror-themed metal of Astro-Creep: 2000 and Hellbilly Deluxe. And while I was too young to appreciate just how much went into those albums, I now recognize them as wildly inventive and insanely entertaining!
Now, some people – I’m looking at you, Mom – seem to think that Zombie’s musical career is one of anger, violence, and negativity. But I’m here to tell you that the total opposite is the truth! What you may not realize is that Rob Zombie is one of the most positive voices in music these days. He is the “yes man” of this generation and needs to be recognized as such.
By using AZLyrics, I have counted every written instance of the times that Rob Zombie has said “Yeah” in both White Zombie and Rob Zombie. To make things simple, I’ve only used studio albums and have avoided EPs and additional songs that were used for other purposes.
Do you know how many “Yeahs” that amounts to? Are you ready for this?
Hell, just in “More Human Than Human” he says it 19 times. If this doesn’t convince you that Zombie is all about saying “Yes!” to every situation he encounters, I don’t know what it will take. The man is my hero.
A new breed of screen villain takes over in Let Us Prey, about a malignant loner’s chilling effect on everyone he encounters during a night in jail. The supernatural horror film will be available on VOD and Digital Download from Dark Sky Films on May 26, 2015 – it will also be available on Blu-ray/DVD day & date.
Bloody Disgusting has an exclusive clip that puts the beatdown on two individuals.
“Rachel (Pollyanna McIntosh, The Woman, Filth), a rookie cop, is about to begin her first night shift in a neglected police station in a backwater town. Surrounded by both disgruntled officers and irate petty offenders, her job becomes all the more difficult and terrifying when a mysterious man (Liam Cunningham, “Game of Thrones'” Davos Seaworth) is brought in and strange things start happening to everyone in the station.
As it becomes clear that the enigmatic stranger, known simply as Six, has something to do with the supernatural, terrifying events, Rachel finds herself in a fight for her life against cop and criminal alike as one by one they turn on each other. Now she must survive the night and uncover the stranger’s true plans for the station’s hapless denizens before she too falls prey to the unholy power that seeks to destroy them all.”
Also starring in the film are Hanna Stanbridge (Outcast) and Bryan Larkin (TV’s “Outlander”).
Available now for purchase is Death Waltz’s new original title Law Unit, which was composed by Umberto (Prophecy Of The Black Widow) and Antoni Maiovvi (Yellow). The album, “…moves past the retro-futurist works of their individual solo releases to explore a world of early industrial and experimental music.”
You can stream several tracks right here.
You can purchase the album on either vinyl or CD via Mondo Tees.
Many horror and art fans alike were devastated to hear about H. R. Giger’s sudden death in 2014. Known for his biomechanical sculptures and paintings, the man is probably most known for his design of the iconic Xenomorph alien in the Alien franchise. And now, practically a year after his death, Belinda Sallin’s intimate documentary, Dark Star (filmed just two weeks prior to Giger’s death), receives a limited North American release.
The documentary begins with a crane shot of Giger’s house in Zurich, which slowly descends to show off the tangled trees at the front of the house. After the relative calm and peaceful establishing shots from around the hosue, the camera slowly advances into the house, showing off Giger’s art that has readily been integrated into the home decor. Accompanied by the ambient and mysterious score by Peter Scherer, those familiar with Giger’s art know what to expect. After several lingering shots of some of Giger’s sculptures, we’re finally introduced to the man himself, barefoot and plodding around his house/studio.
Rather than focusing in detail on a career that’s spanned decades, Dark Star treats viewers to more of a focused overview, beginning with his initial break with designer Hans Kunz. Obviously, Giger’s work on Alien takes centre stage, albeit through archival footage. If you’ve seen the Alien Quadrilogy documentary, you have an idea of Fox’s reaction to Giger’s work, and here it’s just re-confirmed. Luckily for Giger, he had his supporters, including Ridley Scott. Dark Star features a mix of archival footage with interviews from friends, coworkers and fans of his work. Notably, but predictably absent is any sort of input from Hollywood. Giger’s fallout with Fox is a good reason for that, but we still miss input from people such as Alejandro Jodorowsky, for whom Giger had designed props for Jodorowsky’s failed Dune project.
Part of the appeal of this documentary is the chance to see more of Giger’s work and his process. Many people who have worked with Giger in the past have noted the beauty in his art, which to be honest, is not for everyone. However, Sallin’s documentary features several people, ranging from other artists and even a psychologist praising Giger’s work and his contributions spanning across a variety of mediums. Notable is his wife, Carmen Maria Scheifele Giger, whose praise and protectiveness of Giger is cloying, but at the same time, not unlike someone’s mom who seems infinitely proud and boastful of her son’s accomplishments. As for Giger himself, he appears to take it all in humble fashion. He explains his reasons for doing what he does as a sort of catharsis for his visions of said art, and how putting them to canvas/sculpture “frees” him from the fear that these visions cause him. Tom G. Warrior (leader singer of Triptykon, and who is Giger’s assistant), echoes this process, but also refers back to Giger’s generosity with young artists. All of this humility is however amplified by Giger’s pale appearance. Shuffling around slowly, Giger appears frail with a downturned mouth, speaking in a gravelly croak that seems uncomfortable to him, and by proxy, the audience. It’s a definite far cry from his prime, and from his appearance in the Alien Quadrilogy documentaries.
Given the nature of Giger’s art, and his condition at the time, there’s a definite sadness to this documentary. Adding to this feeling is the topic of Giger’s girlfriend, Swiss actress Li Tobler, who committed suicide in 1975. Tobler’s brother Paul is interviewed about the subject, who tells of their strict Catholic upbringing that greatly contrasted with Giger’s, which caused great turmoil within Li. Not many kids would be given a human skull, then choose to walk around with said skull attached to a string in order to conquer their fear of death. Giger’s input on the subject, coupled with his health, casts another cloud on an already dark yet intimate retrospective. Thankfully, there are brighter moments, such as when Giger travels to the opening of one of his exhibits at the Lentos Art Museum in Austria, or at one of his book signings. It’s still amazing the amount of fans and adoration he receives in Europe is quite the stark contrast to the attention he received here in North America.
Ultimately, this documentary is more about an artist in the twilight of his life. There’s a shot of Giger in his backyard garden, with all of his sculptures mixed in with the various plants and trees, that coupled with what we’ve already seen, dips back into Dark Star‘s overall dour feeling. Seeing archival footage of him on a track that he had set up to tour his backyard garden, and the construction of the garden itself, is just another in a series of stark contrasts. Giger himself seems tired, stating his thoughts on death and it’s finality, stating that he’s “seen everything I wanted to see” and done “everything [that he] wanted to do or show”. Indeed, the last shot of the documentary is of Giger descending stairs, out of sight, which fades to black.
Obviously, this is not the final word on Giger the artist. The documentary doesn’t cover all of Giger’s career, nor does it explore his other contributions in more detail, such as other films, video games, music or even his Giger bars. We get glimpses, but they’re just that. We’re also not privvy to comments from his critics, even though we are given an idea as to what they think. Still, Sallin has definitely given fans of Giger something that they will enjoy, but at the same time, isn’t that overarching career retrospective that fans really want, and be more accessible. Well, as accessible as Giger’s art can be. Definitely an interesting look at an artist whose unique style went far beyond the big screen.
According to Vulture, Conan O’Brien will act as executive producer on “The Group“, a new comedy series about alien abductees.
O’Brien told Vulture, “The script is an absolute page-turner. It wasn’t even particularly that it was about aliens that attracted me to it. It felt like a very funny X-Files.”
Greg Daniels (“The Office”) will act as producer for the TBS show.
No further information has been released. If this works out, it could be a very entertaining and possibly original show.
Variety is reporting that Bertrand Blier will be directing Existe En Blanc, which is the title of his second book, published in 1998.
The film will star French actress Maiwenn, who appeared in The Fifth Element as well as High Tension as Alexia. It will also star Benoit Poolevorde, Anais Demoustier, and Gregory Gadebois.
According to the site, Existe En Blanc is, “…a decadent and subersive tale charting the life of Baudouin Treutte, a Belgian serial killer who has strange sexual obsessions.“
Indie distributor A24 has announced a multi-picture deal with director Edward Shults, according to Deadline. The deal includes Shults’ current film Krisha, which won awards at the 2015 SXSW, as well as having A24 produce and distribute the psychological horror film It Comes At Night.
According to the site, It Comes At Night will be, “…a psychological horror film about a father who will stop at nothing to protect his wife and son from a malevolent, mysterious presence terrorizing them right outside their doorstep.”
A24 stated that Shults is…
…an artist on the rise and we are proud to partner with him. His unique approach, singular style, confident storytelling and edge shines through Krisha and we are excited to collaborate with such an exceptionally talented filmmaker at the beginning of what will no doubt be a long, celebrated career.
Xavier Gens, who you may remember as the director of Hitman and Frontier(s), is heading to Cannes with Lights Out, a new home invasion thriller that introduces a strong female protagonist who is…blind.
“Lights Out is about a young blind girl, living alone with her seeing-eye dog, who is forced to battle Russian gangsters who invade the secluded family mansion following her father’s suspicious death. Her only hope of survival is to cut the power in the house and use the fighting skills her father taught her.”
The script was penned by Lamont Magee and Jeff W. Byrd, and the film will be financed by Arclight’s Asian arm, Easternlight Films, and China’s Huace Pictures.
Gens is also working on The Crucifixion, which is being written by The Conjuring writers Chad and Carey Hayes.
Including a first ever look at the film, ScreenDaily reports that 13 Films has sold multiple territories on action horror film Untöt starring Hayden Christensen.
Kaleidoscope Film Distribution will distribute in the UK and Splendid has acquired German and Benelux rights to the story of a Second World War German Army unit that encounters an undead force in a secret weapons facility.
“Untot, meaning “undead” in German, is set towards the end of World War II in December 1944. During a blizzard, an elite military unit headed by Lt. Fredrick Hank (Christensen), is dropped behind enemy lines in the mountains of Poland to destroy a secret Nazi weapons facility. The soldiers must face their greatest fears when they encounter something they could never have been trained for. The undead.”
13 Films president Tannaz Anisi also announced further deals in South Korea (Sookie Pictures), the Middle East (Eagle Films), Tanweer (Indonesia), Red Pictures (Malaysia) and South Africa (Ster-Kinekor).
Video game producer-director Kris Renkewitz makes his feature film debut and Greg O’Connor of Solaris Entertainment produces Untöt.
“We are thrilled with the positive response from overseas buyers on Untöt,” said Anisi. “Hayden Christensen has commercial appeal and Renkewitz has crafted a chilling and suspenseful tale which will leave audiences on the edge of their seat once this story is brought to life.”
Joseph White will direct the sci-fi thriller Genus for London based production and finance outfit Catalyst Global Media, Bloody learned out of Cannes.
Based on the acclaimed novel by Jonathan Trigell (writer of Boy A, dramatized by Film Four and The Weinstein Co. and recipient of four BAFTA Awards), Genus is a gripping and action-packed sci-fi thriller set in a bleak and dangerous future.
The film is being adapted for the screen by Mike Carey, the award-winning novelist, graphic-novelist (“Lucifer,” “Hellblazer” and “X-Men: Legacy”) and screenwriter of Cannes 2015-reported Warner acquisition She Who Brings Gifts starring Gemma Arterton, Paddy Considine and Glenn Close.
“In the not-so-distant future, genetic selection and physical perfection are the norm – all the qualities men and women aspire to can be purchased prior to birth, and those financially unable to ‘self-improve’ are ostracized as an underclass in London’s King’s Cross (The Kross). When a series of disturbing murders shakes the Kross, the unorthodox Detective Gunt is assigned to the case. As tensions mount between the improved and the unimproved, Gunt is running out of time. But as he gets closer to the truth and uncovers a larger conspiracy, he will come to question everything he’s ever known to be true.“
“Genus is a fascinating proposition from novelist Jonathan Trigell who presents us with a piece of science fiction that is relevant and frighteningly possible. Mike Carey was our number one choice for this adaptation and we are thrilled to be announcing the talented and visionary director Joe White at the helm,” said Catalyst CEO Charlotte Walls. “Tonally and stylistically we see Genus as “Gattaca” meets Looper wrapped up in a detective thriller akin to Se7en and we know that Joe’s wide-ranging talents can make this a reality.”
Joseph White, who’s VFX background includes credits on such films as Skyfall, has recently garnered much notoriety and acclaim for The Brain Hack – an ambitious, mind-bending, award-winning and viral 19-minute online sci-fi thriller that he wrote and directed and which was commissioned, financed, produced and scored by Catalyst. The Brain Hack has already been optioned for a feature film remake by Jeff Robinov’s Studio 8 and will be produced by 3 Arts Entertainment’s Erwin Stoff, Will Rowbotham and Richard Abate.
Genus will go into production later this year.
Santa Land becomes the grounds for an epic battle in Slay Belles, the directorial debut of “Spooky” Dan Walker, who spent many years helping build Bloody Disgusting into becoming the largest horror community in the world!
The film is billed as yet another Krampus movie, this one featuring Rocky Horror Picture Show‘s Barry Bostwick, Rob Zombie’s Halloween star Kristina Klebe, and Susan Slaughter of “Ghost Hunters” fame.
Spooky shared the first ever trailer for the film, which pits beautiful women and Santa Claus against the Krampus monster, also known as Satan!
The film is nearing completion but needs some funds to reach the finishing line. Spooky has set up Indiegogo crowd-sourecing campaign to garner $30,000 to complete production – and thus deliver a new holiday horror directly to you!
“It’s Christmas time in a quaint rural town where a chorus of screams drowns out the holiday carols. Krampus is on the loose and he’s making up for lost time by killing his naughty prey. As Krampus is “soul searching”, three urban explorers in all of their hotness, go on an adventure and break into a long shutdown theme park, Santa Land. Unwittingly they find themselves at the scene of the crime where Krampus takes his prey. It’s also where the real live Santa has retired. Now Santa, a crotchety biker-wannabe coping with his faded magical powers, is forced to ally himself with these chicks. The fate of the world is riding on their combination of wits, magic and spunk, to take down Krampus once and for all. If they fail, Krampus will kill Christmas and all of the naughty the world over. Now that’s a lot of people…”
With Tom Six’s Human Centipede 3 (Final Sequence) arriving in theaters and VOD platforms this coming Friday, I was able to land an exclusive interview with the franchise’s Doctor Frankenstein, Tom Six.
While you can read the full review here, we did try and find out what would happen in a fourth Human Centipede film.
Six has openly stated that Human Centipede 3 is the final sequence, ending his planned trilogy. BUT, what if he were to continue with another ‘pede?
“The three films make a movie centipede and they were meant as a trilogy,” Six tells Bloody Disgusting exclusively. “If I had to make a fourth one, which I might do in 20 years from now, who knows, it will be about connecting all starving Africans on the African continent done by a charity organization, to solve the hunger problem….
But Six has another idea as well…
“Or about aliens connecting the whole human race!”
The third Human Centipede assembles a 500-person ‘pede made out of prisoners. It’s definitely going to be hard to top, although if you’re going to jump the shark, you may as well use aliens as the device.
What would YOU guys do if you were to make a Human Centipede film?!
This Friday IFC assembles the final chapter in the Human Centipede franchise.
Many are fans of the franchise, some watch it out of morbid curiosity, and others just wanna be part of the “club”.
Whatever the case, Six promises to up-the-ante with IFC’s Human Centipede Part 3 (Final Sequence) with a 500-person centipede assembled inside a prison.
But before we get to the mega-‘pede, we wanted to find out a bit about the franchise’s history, including its origins.
It’s been well-known that the idea came from Six wanting to sew a child molester’s mouth to the ass of a fat truck driver, but we had heard Six used semantics – telling them he was making a modern “Frankenstein” film – to get the initial investor on board. We finally have the truth.
“Not entirely. I didn’t tell them it was a Frankenstein movie,” Six clarifies in our exclusive interview. “I did explain the concept of a surgeon sewing people together, but I left out the words ‘ass to mouth.’ I’m sure they would have backed out if I had used those graphic words. Luckily, when they saw the film, they thought it was so brilliant they stuck so many feathers up Ilona’s and my ass, we looked like peacocks.”
One of the most impressive things about the first Human Centipede is how uncomfortable it is without actually actually showing anything truly that disturbing.
Six talks about gradually brings the audience into his world: “For the first film, I wanted the audience to get used to the idea first. A person swallowing turds directly from another person’s ass was uncomfortable enough. In Human Centipede 2, when people were used to the concept, I could go full force.”
“After the first movie, people begged me for more. And that was right up my alley. I enjoyed it very much to rub it in hard, without Vaseline,” Six continues, speaking to Human Centipede 2 critics who said the movie was way too graphic and gross. “No restraints.”
Six also explains the process in coming up with the idea to have Human Centipede take place in the “real” world, making the first a work of fiction.
“I liked the idea of a lunatic copying the idea in real life and making his own Human Centipede, this time without any medical knowledge,” Six said. “For that, the first film had to be a work of fiction.”
Moving our conversation into Human Centipede 3, in theaters and on VOD this Friday, we talked about the franchise going “full Inception“.
“All three films form a movie centipede,” he explained. “Human Centipede 2 begins where Human Centipede 1 ends and same goes for Human Centipede 3. In this sequence, Human Centipede 2 had to be a movie again because in Human Centipede 3, I implement my idea on real life punishment in the prison system, with myself as the brain behind the concept.
“The films digest each other, so after Human Centipede 3 there, all that is left is shit.”
“Human Centipede 3 is 100% politically incorrect,” Six continues speaking to his new style of terror. “It would be boring to just add more gore. This film is the most controversial on a whole other level. It’s American style, everything is larger than life. A 500-person centipede XXL.
“Also, the characters are larger than life. It contains misogyny, racism, sadism, blasphemy etc and it’s so funny you could die laughing.”
Speaking to the comedy, I thought Human Centipede 2 was funny, I asked Six about the absurdity and how it’s meant to be a comedy.
Six explained: “All films in my vision are not horror films but pitch black comedies with horrific elements. Human Centipede 3 is the most funny of them all.
“I wanted to go out with a bang, so the audience will be disturbed but very entertained at the same time,” he adds. “Like my Amsterdam massages, the film has a very happy ending.”
Would Six ever make a fourth film? Well, you can read all about that here.
Oh great another lame shark movie was my reaction when I heard the title. It took a little convincing to have me sit down & watch the four minute promo at Berlin Film Festival earlier this year. The film makers were set up with an iPad & sound cancelling earphones at a Swiss reception, abducting party goers & getting them to watch the footage. As soon as it started to play out I knew it was different from the low budget trash TV. After trying to sneak a photo of the screen & being chastised the footage is now online for all to see below.
As you can see the CGI is superior to the usual shark template used by similar movies, due to the FX team boasting credits on Game Of Thrones with the Emmy award winning dragons. The arrival of zombies & practical effects gore are the blood dripping cherry on top.
Beyond the amazing 4 mins above here’s what else to expect in the finished feature which you can be part of making over on Kickstater.
Deep in the ice of the Antarctic, a team of geologists uncover an old Nazi laboratory, still intact, where dark experiments had occurred. Unwittingly the geologists unleash upon the world a top-secret experiment the Germans had been working on – modified sharks that are able to fly, whose riders are genetically mutated, undead super-humans. The only thing that can stop them, and possibly save the world, is a military task force called “Dead Flesh Four“ – assembled from reanimated U.S. soldiers who fell in Vietnam.
You can follow the progress of the project on their FB page,Twitter & Instagram accounts or be the first to hear news when backing the film by grabbing a reward – the best of which in my opinion involves you GETTING KILLED by one of the LEAD NAZI ZOMBIES in a CLOSE-UP, then fed to a shark.
What was your favorite part of the promo & how many cameos did you recognize? In the spirit of being transparent I work with Raven Banner who are selling the film.
According to Deadline, actor Ruben Blades has signed on to appear as a series regular on the upcoming AMC spinoff series Fear The Walking Dead. It’s reported that he will play Daniel, the father of Mercedes Mason’s character.
Set in Los Angeles (and shot in Vancouver and LA), “Fear The Walking Dead” focuses on new characters and storylines.
Robert Kirkman, Gale Anne Hurd, Greg Nicotero and David Alpert from “The Walking Dead” are executive producing for AMC Studios. Dave Erickson, who co-created and co-wrote the pilot with Kirkman, is an executive producer and showrunner. Adam Davidson directed the pilot episode.
The series debuts this June.
Curt Pires is on a meteoric rise this past year with critical hits “POP” and “Mayday”, two books that hold a scathing mirror up to culture and celebrity and deliver on every side. We at Bloody have been really impressed with both series, calling “POP” “profound” and “as visually spectacular as it is smart”. This summer Pires begins two new series’ that will no doubt hit as many high points. From the solicitations:
“The Tomorrows” – They told you the counterculture was dead. They were wrong. Welcome to the new reality. A bold new speculative-fiction comic from the mind of writer Curt Pires, with each issue illustrated by a different brilliant artist! The future: Art is illegal. Everything everyone ever posted online has been weaponized against them. The reign of the Corporation is quickly becoming as absolute as it is brutal—unless the Tomorrows can stop it.
“The Fiction” – Four childhood friends discover a box of strange books that, when read aloud, can transport them to the beautiful, imaginary worlds described within. But when one of them goes missing, the others vow never to reveal where they’ve been and what they’ve seen. Years later, when one of the remaining kids, now an adult, also mysteriously disappears, it’s up to the last two of the group to dig up their dusty books to find him and finally figure out what happened to their friend all those years ago.
Bloody Disgusting – I’m glad to see you are starting a long-form series, why is “The Tomorrows” the right story to develop an ongoing around?
Curt Pires – The Tomorrows is the right book to build an ongoing around because it’s conceptually huge. It’s the biggest story I’ve ever tackled in so many ways. I don’t think the scope of the book even becomes clear to people until issue five of this first arc? But it’s huge. I’ve spent like two or three years playing with the idea, and just finally gotten to a point where
I feel like I’m in a place where I can execute it on both a craft and logistics level.
I’ve said this before in another interview but writing The Tomorrows is kind of like just diving into the ideaspace and surfacing and trying to make sense of it all. It’s immersing myself in all the ideas and narratives I see circling me and forming something cohesive from it.
BD – “Tomorrows” is noticeably more optimistic than your other recent work, emphasizing the role we all play in creating our future. Does this series represent a shift in your own perspective of the path mankind is on?
CP – we all play in creating our future. Does this series represent a shift in your own perspective of the path mankind is on? I don’t know if I feel like mankind is on that path,but some of us are. I look at most people and I don’t even think they’re aware that that’s a path that exists or that is even necessary. That said I am hopeful when I look around, I see a few people, a small group of us realizing that the world is broken and the only way it’s going to get fixed is if we fix it. A lot of the book is me trying to write my way out of a bleak future we’re heading towards. already since I started writing the book reality has gotten better
So It’s not too late. I don’t think it’s ever too late.
BD – We’ve reached the point of no return in a lot of ways with regards to privacy, virtual identities, and corporate control. How do we adapt and make the best of a world that feels already too far gone?
CP – It’s this give and take really, they keep advancing the surveillance technology, but we–the people fighting against it also haven’t just given in I think one thing we have that the corporations and the governments don’t have is absurdity. Get drunk. Through a brick through a corporate window. Throw a rave in an all night banking centre. Fuck in public. Piss on a bank. Get fucking crazy. They can’t own you.
BD – The opposing forces in “TOMORROWS” are business and art: the evil corporate magnate, who is developing a mind control program, has to deal with the free thinking artists standing in his away. Do you see enterprise as the enemy of expression?
CP – That’s complicated. It’s not black and white, it’s grey. But often the people with the money who are funding the art–the money men, often don’t get the creative process and want to step in and interfere, create fires, just so they can feel involved. Other times there’s executives who know to just get the fuck out of the way and let the art happen. If we’re talking on a very broad level, I do think corporations are the enemy of art. Big
Banks don’t care about making the world more beautiful, or sustainability, they just want their money and they want it now.
BD – Who are the modern day “Tomorrows” for you? The people that reject the homogenization of culture and oppose government and corporations overstepping their bounds.
CP – Myself. First off. My friends. My friend–amazing writer, Jordan Van Niekerk, definitely. Gaspar Noe. Andy Warhol. Nic Refn. Any artist who makes what they want in a fearless manner. You don’t even have to be an artist I think. You just have to be someone who embraces the ethos. Who sees how fucked the system is. I’m inviting every reader to be a Tomorrow. Shit, by virtue of picking up the book they are already sort of a part of it. I think we can all be Tomorrows. The invitation’s open. Let’s get weird.
BD – “The Fiction” has such a tidy premise yet the potential to go absolutely anywhere, knowing you I expect things to get pretty dark before it’s over. How would you describe the tone of “The Fiction”
CP – It’s a double-edged sword of fantastical beauty and deep horror. It’s a lot like real life in that regard. But yeah, it’s me exploring wondrous highs, the peak of imagination, and also crushing lows–the loss of a friend, the dissolution of a family.
BD – One of the themes you are dealing with in this series is trauma, and more specifically childhood trauma. I think this metaphor of escapism through books will connect with a lot of people in a very visceral way. Was it your intention to speak to trauma survivors through “The Fiction”?
CP – My first and foremost goal with THE FICTION was just to make sense of the story that kept coming to me. The Trauma angle? Once I started writing it and realize it was there? Definitely. That said–I don’t necessarily want to jump in and say that this angle is going to work for everyone. The thing about trauma is it’s different for each and everyone one of us. I think we all leave our childhood with some scars. Some of us get small ones, easy to hide, others get absolutely put through the ringer. I want to show love and sympathy for everyone though. The world needs more kindness.
BD – Along the same lines, the themes in “The Fiction” are more acute than the sort of social and cultural themes you’re dealing with in “TOMORROWS”, “POP”, and “Mayday”, how has the experience of writing “The Fiction” been different from your other work?
CP – I think THE FICTION definitely treads new ground in terms of my oeuvre. The Fiction is still just as heady as those other books, it’s just concerning itself with more metaphysical and philosophical content. It’s an exploration of imagination more than anything. Writing The Fiction has been a lot of fun though, that’s for sure.
BD – “The Fiction” it strikes me as a fairly more personal series than your other recent work. What are some books that really sucked you into another world when you were a kid.
CP – Trying to think. Ender’s Game. That’s before I realized Orson Scott Card was a raging homophobe. That said, like Brian K Vaughan has said before, that book taught me how to separate the author from the work. Neil Gaiman’s American Gods. Neil’s work is actually a pretty big influence on me on the whole. Harry Potter was big for me too when I was younger. I was definitely part of a generation of children who got wrapped up in that phenomenon. I love JK Rowling. The universe she created in those books was so wonderful.
“The Tomorrows” will be available from Dark Horse Comics July 8th
“The Fiction” will be available from BOOM! Studios June 17th
It’s safe to say none of these titles will be winning the Palme d’or at Cannes 2015. These are the titles that are more deserving the palm to the face.
Bunny The Killer Thing
When the tag line is “Coming After Your Pussy in 2015″ you can safely say Finland is one fucked place. A giant bunny with a gurgling cry of PUSSY punctuates the snowy teaser trailer as a dripping rabbit cock looks to fill any open hole.
The creature is half man, half rabbit, and it is after anything that resembles female genitals. The creature is Bunny the Killer Thing!
The Monk Who Fucked A Limousine
No words. I just hope the guy lubed up the tail pipe before going all the way.
Nazi zombies piloting flying sharks with missiles on their fins attacking a passenger flight? The gore & decent CGI is set to soar with the need of a weather condition to create the carnage.
A failed sculptor discovers a strange, talking hole in the wall. It has the power to fulfill his wildest dreams…and become his worst nightmare.
“This Ain’t No Glory Hole” – You’ve got that right. Would you post your junk through that gap with pointy teeth smiling back?
Disclaimer I work with Raven Banner who have just taken Bunny The Killer Thing & am involved with Sky Sharks which is how I first heard about them.
RLJ Entertainment/Image Entertainment just gave Bloody Disgusting the first batch of images from Appetites, arriving on DVD August 4th, 2015.
Cameron Casey directs the film starring Donnie Darko fav James Duval with Lauren Parkinson and Bret Roberts.
“Daisy is the all-American girl next door, with a hunger for true love and an appetite for murder. For years, it’s just been her and her brother living out in the desert, hunting young men for sport – and dinner. While Daisy enjoys these games, she can’t help but yearn for something more. So, when she meets the very handsome John Doe, and they fall madly in love, Daisy can’t believe her good fortune. But it turns out John has some eccentric hobbies of his own, and now Daisy must find out if she will be his partner in crime – or his next victim.“
Mad Max: Fury Road‘s showcase of practical effects, early impressions of “The Witcher 3″, and a message from a fake sponsor!
Chris Pratt, who is about to hit theaters as Owen Grady in Jurassic World, has addressed the rumors of his involvement in several upcoming projects, such as Knight Rider and Ghostbusters, in a charmingly direct and eloquent fashion: “As far as I know, that’s complete bullshit.”
Speaking with GQ, Pratt expands on the Channing Tatum-produced Ghostbusters film, saying, “No one has ever even spoken to me about that. Never. I’ve even seen Channing a couple times.”
Jurassic World hits theaters June 12th.