APES ON FILM: Death Scrambles Some Eggs; Plus – MOTHRA!

Posted on: Nov 30th, 2020 By:

by Anthony Taylor
Contributing Writer

 Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

 

 

 

DEATH LAID AN EGG (SPECIAL EDITION) – 1968
3 out of 5 Bananas
Starring: Gina Lollobrigida ,Jean-Louis Trintignant, Ewa Aulin
Director: Giulio Questi
Rated: Unrated
Studio: Cult Epics Press
Region: Region Free
BRD Release Date: November 10, 2020
Audio Formats: LPCM 2.0 Mono / English & Italian Language with optional English Subtitles
Video Codec: Fully Restored 2K HD Transfer, MPEG-4 AVC, 1080p
Aspect Ratio: 1.85:00
Run Time: 105 minutes (Director’s Cut)
CLICK HERE TO ORDER

DEATH LAID AN EGG is aptly titled. Translated from the original Italian, of course, but right on target for a film that never makes up its mind about what it is; Giallo? Sex Melodrama? Science Fiction? Murder Mystery? Psychodrama? Parody of all of these? All of these genres are present and as a result the film squeaks past as viewable for its cast, some interesting attempts at breaking stereotypes, and for being the only movie I can recall seeing that was so damned concerned with the politics of chicken farming.

Yes, chicken farming. The radiant Gina Lollobrigida and Jean-Louis Trintignant own a high-tech poultry ranch, where cousin Ewa Aulin comes to stay, creating sexual tension for all three. Gina admires her body, Jean-Louis falls in love, and Ewa has an affair with Trintignant intending to alienate the couple, then murder her cousin and frame her wayward husband for the crime with the help of interloper Jean Sobieski who knows Trintignant’s dirty secrets. Or does he?

The movie suffers from an utterly awful musical score. Composer Bruno Moderna attacks a piano like a two-year-old with a broken hand trying to make the viewer feel uneasy. This works for the first few seconds but ultimately becomes annoying. Few interludes of actual music occur, and I ended up thankful for the silence most of the time. The brightest light that shines is the gorgeous Ewa Aulin, who should have been a bigger star in the US. Can she act? Who knows? She’s not given much of a chance here, but she’s ultra-appealing.

Cult Epics’ presentation is beautiful to look at and is packaged nicely. The director’s cut has been edited from several element sources and switches back and forth between the English dub and Italian with English subtitles, which can be jarring. I thought I had received a flawed copy until I did a bit of research and got the whole story. Supplemental materials are plentiful and quite good, including a Director’s Cut audio commentary by Troy Howarth (Author of So Deadly, So Perverse: 50 Years of Italian Giallo Films vol. 1, 2, 3) and Nathaniel Thompson (Author of DVD Delirium and founder of Mondo Digital), a review by Italian critic Antonio Bruschini, Giulio Questi: The Outsider – the last video interview in HD (2010) (13 mins), “Doctor Schizo and Mister Phrenic” (2002) a short film by Giulio Questi (15 mins), English & Italian language Trailers in HD, and more. The packaging includes a reversible sleeve with original Italian poster art and slipcase printed with fluorescent inks, both limited to first 2000 copies.

If nothing else, DEATH LAID AN EGG is a unique viewing experience, and one you’ll likely never forget. Recommended for Giallo lovers and chicken farmers of all ages.

 

MOTHRA (Limited Edition Box Set) – 1961
4 out of 5 Bananas
Starring: Furankî Sakai , Hiroshi Koizumi , Jerry Itô
Director: Ishirô Honda
Studio: Eureka Video (UK)
BRD Release Date: November 16, 2020
Region: B
Audio Formats: LPCM Mono (48kHz, 24-bit)
Video Resolution/Codec: MPEG-4 AVC
Resolution: 1080p
Aspect Ratio: 2.35:1
Run Time: 191 minutes, 90 Minutes
CLICK HERE TO ORDER

All kaiju movies owe a debt to the American films that inspired them (such as Ray Harryhausen’s THE BEAST FROM 20,000 FATHOMS), but none more than MOTHRA, which was heavily influenced by KING KONG. Both films involve expeditions to a mysterious island, which result in a smarmy capitalist kidnapping fantastic beings in order to exploit them for entertainment purposes back in civilization; in KONG it’s the giant ape, in MOTHRA, it’s a pair of diminutive fairies who turn out to be high priestesses of a giant monster goddess who comes to rescue them from captivity. In her nascent form, Mothra even attempts to climb Tokyo Tower, Empire State Building style.

The film does fall back on some classic kaiju tropes – the ship in distress in a typhoon, a giant monster wreaking destruction on the city (Tokyo and New Kirk City in this case, in the fictional nation of Rolisica, the filmmakers’ combination of Russia and America), scientists of all stripes expounding theories – but deviates from the formula set by earlier Toho offerings by delving into questions of religion, humanity, and offering a decidedly feminine point of view not only via the fairies – adorably portrayed by the Peanuts, a popular singing duo at the time in Japan – but also via supporting characters, and even Mothra herself. Not affected by the radioactive fallout from atomic testing that everyone keeps talking about in the first half of the film, Mothra is actually a goddess that’s been around for thousands of years; a departure from the Toho kaiju norm. The overall tone of the movie is lighter than its predecessors as well, making for a fresh viewing experience.

Unconventional leading man Furanki Sakai (also a standout as Lord Yabu in the SHOGUN television miniseries from 1980) shines as Fukuda, a journalist set on getting to the bottom of the island’s mysteries, as does Jerri Ito in an over-the-top performance as the villain Nelson, so set on capturing the fairy twins that he’s willing to gun down an entire village of innocent islanders (played by Japanese actors in dark body paint, which would certainly be frowned upon in modern times) in the film’s darkest moment. Hiroshi Koizumi plays the stoic leading man, Dr. Chujo with the same look of knitted-brow concern throughout the film.

MOTHRA features some great special effects work by Eiji Tsubaraya and his team as well, including a large amount of optical effects combining miniature work with real crowds and other live action footage. These effects help convey to the viewer that the wholesale carnage happening onscreen is affecting real people and are used well to this end. Fukuda’s rescue of a baby in peril is especially effective.

The giant moth became so popular that she appeared in many of Toho’s other kaiju eiga, and even got her own trilogy of films in the 1990s. She proved to be a highlight of the American GODZILLA: KING OF THE MONSTERS as well.

Eureka has gone all out for this limited edition which comes in a hardbound slipcase with reversible art featuring the original Japanese poster art, the American art, as well as the original Japanese version of the film which runs 101 minutes and the 90 minute U.S. cut. Also included is a brand-new commentary with writer David Kalat, and a commentary with authors Steve Ryfle and Ed Godzizewsky, which has appeared on earlier releases. Anno Dracula author Kim Newman weighs in on the history and legacy of MOTHRA as well, and the first 3000 copies include a 60-page collector’s booklet. The package is Region B encoded, so make sure you have a region free player or live in the UK.

All in all, a very robust package and worth the price of admission. MOTHRA is a wonderful film and always worth a watch…or a re-watch.

 

 

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video*WatcHDog, and more.

*Excerpts from the MOTHRA review first appeared in Screem Magazine #38.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

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APES ON FILM: Terrors Abound: Somnambulists and Conjurors!

Posted on: Oct 26th, 2020 By:

by Anthony Taylor
Contributing Writer

 Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

 

 

STEPHEN KING’S SLEEPWALKERS – 1992
2.5 out of 5 Bananas
Starring: Brian Krause, dchen Amick , Alice Krige
Directors: Mick Garris
Rated: R
Studio: Eureka! Entertainment
Region: B
BRD Release Date: October 19, 2020
Audio Formats: English: DTS-HD MA 5.1 and LPCM 2.0 audio options
Video Resolution/Codec: MPEG-4 AVC, 1080p
Aspect Ratio: 1.85:1 Original Aspect Ratio
Run Time: 89 minutes
CLICK HERE TO ORDER

The 1980s were truly rife with film adaptations of Stephen King’s novels, for better (THE SHINING, STAND BY ME, THE DEAD ZONE) or for worse (CUJO, CAT’S EYE, MAXIMUM OVERDRIVE). The 1990s started strong with MISERY, but as they settled in, his horror-related work took a back seat to adaptations of more mainstream stories such as THE SHAWSHANK REDEMPTION, and THE GREEN MILE, which garnered more attention from critics and audiences. King’s first direct-to-screen story, not based on a previous work, was SLEEPWALKERS (1992).

The film introduces us to the “legend” of the Sleepwalkers – immortal monsters that feed on the life force of virgins, supposedly based on Native American folklore. Luckily, these maiden-sucking vampires have a fatal weakness; cats hate them and can scratch them to death, releasing the fires of hell within their souls. Owing as much to Val Lewton’s CAT PEOPLE (and coming only a decade after Paul Schrader’s stylish remake of it), SLEEPWALKERS trades in the same psycho-sexual horror headspace, focusing on the mother-and-son monster duo of Mary and Charles Brady (Krige and Krause), an incestuous pair that’s just moved into town and set their sights on the lovely life force of movie theater popcorn girl Tanya Robertson (Amick).

King really misses an opportunity to craft a story of substance by making Charles a one-dimensional vampiric douchebag, tossing off one-liners as he kills a teacher, terrorizes the initially smitten Tanya, and tears through town in his Trans Am. Had he been torn between the past and the fate thrust upon him by his evil mother and his true love for Amick’s character, the film could have been much more substantial than a teen monster movie of little consequence, which it eventually becomes.

Eureka’s Blu-ray presentation looks and sounds great, but is Region B encoded, so you’ll need a region-free player to view. If you’re unable to play a Region B disc, Shout! Factory has released the film in the U.S., and the supplemental materials on the Eureka release were all ported from the Shout! Factory discs except for a new audio commentary by director Mick Garris and Lee Gambin. The Eureka release does come with a Limited-Edition O-Card slipcase with silver laminate finish and a Limited-Edition Collector’s Booklet featuring new writing by Craig Ian Mann which is included with the first two-thousand copies only.

Stephen King’s SLEEPWALKERS is cheesy fun but could have been so much more. Recommended for King completists.

 

THE MAGICIAN – 1973 – ‘74
1.5 out of 5 Bananas
Starring: Bill Bixby , Keene Curtis , Julian Christopher , Joseph Sirola
Created By: Bruce Lansbury
Studio: Visual Entertainment Inc
DVD Release Date: August 25, 2017
Audio Formats: Dolby Audio, English Stereo
Video Resolution/Codec: NTSC 1
Aspect Ratio: 4:3 (or is it?)
Run Time: 1025 minutes

CLICK HERE TO ORDER

THE MAGICIAN was the third of Bill Bixby’s (MY FAVORITE MARTIAN, THE COURTSHIP OF EDDIE’S FATHER, THE INCREDIBLE HULK) network series, and the least successful. It lasted only a season on NBC from 1973-74, and I recall it fondly as helping to ease the sting of the cancellation of SEARCH, a show that my eight-year-old self obsessed over the year before. The series found Bixby playing the world’s greatest illusionist, Anthony Blake – a professional magician and amateur sleuth and “fixer” for friends and acquaintances who needed his special kind of help. Think of him as a cross between Houdini and The Equalizer.

The series was entertaining and the concept interesting enough, but it suffered from network meddling; bad luck (Bixby’s character name was Anthony Dorian in the pilot, and a stage magician named Tony Dorian came forward after it aired which prompted the name change to Anthony Blake); producers trying to wrestle spiraling budgets under control (halfway through the season, Blake’s private live-in jet airliner was discarded in favor of an apartment at Los Angeles’ The Magic Castle); and even a writer’s strike. Regular characters disappeared halfway through the season and new ones added with no explanation. The hook for the series was Bixby’s likable magician, but it wasn’t enough to keep viewers tuned in through all the inexplicable changes and the show folded after just twenty-one episodes.

Visual Entertainment Inc. has released the full series and pilot episode in a four-disc set in DVD format, and I was happy to get them. At first. The company admits in a warning screen at the beginning of the discs that quality is not as high as many other DVD series releases from the time period, so I was forewarned. This is excusable – the show quality is a bit rough here and there, but the fact that it was released at all (and for a reasonable price) was something for which to be thankful. What I can’t abide is that they label the video as appearing in the original NTSC 4:3 aspect ratio, which it does not. The ratio has been stretched to fit modern television screens’ landscape orientation rather than simply allowing the black bars on either side of the picture, as any sane person would have formatted it. The stretching results in loss of picture at the top and bottom of the screens to some degree, but mainly it makes everyone appear wider than normal, which pulls me (and everyone else, I assume) out of my “comfort” zone and makes the whole experience unwatchable. In some scenes it’s hardly noticeable; in the next, it’s grossly exaggerated. Maddening and completely unnecessary.

I can’t recommend purchasing this set, no matter how big a fan you might be. The best we can hope for is a release from a responsible company who respects the viewing experience at some point in the future. Save your money for that day.

 

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video*WatcHDog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

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APES ON FILM: Mariners and Marines, Adventures to Last a Lifetime!

Posted on: Sep 14th, 2020 By:

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

VOYAGE TO THE BOTTOM OF THE SEA – 1961
Original Motion Picture Soundtrack 50th Anniversary Edition
5 out of 5 Bananas
Format: Compact Disc
Music by: Paul Sawtell, Bert Shefter
Album Producer: Nick Redmond
Liner Notes: Randall D. Larson
Label: La-La Land Records
Tracks: 16
Run Time: 56 minutes
CLICK HERE TO ORDER

VOYAGE TO THE BOTTOM OF THE SEA – 1964-68
Original Television Soundtrack Collection – 4 Disc Set
5 out of 5 Bananas
Format: Compact Disc
Music by: Alexander Courage, Robert Drasnin, Jerry Goldsmith, Lennie Hayton, Joseph Mullendore, Nelson Riddle, Paul Sawtell, Herman Stein, Leith Stevens
Album Producers: Jeff Bond, Neil S. Bulk, Kevin Burns
Liner Notes: Jeff Bond
Label: La-La Land Records
Tracks: 142
Run Time: 4 Hours, 58 Minutes, 50 Seconds
CLICK HERE TO ORDER

Producer Irwin Allen had created several award-winning and successful films by 1961, but that was the year he inadvertently hit on a formula that would serve him well for the rest of the decade and beyond. With VOYAGE TO THE BOTTOM OF THE SEA, Allen combined quasi-military action with sci-fi themes and an apocalyptic disaster scenario. In essence, he created the combination he would borrow from, add to, subtract from and use for television and film projects well into the 1970s. From this seed, the producer would plant a television dynasty consisting of a small screen version of VOYAGE TO THE BOTTOM OF THE SEA, the TV series LOST IN SPACE, THE TIME TUNNEL, and LAND OF THE GIANTS, as well as feature films such as THE POSEIDON ADVENTURE and THE TOWERING INFERNO.

In 2011, La-La Land Records released a great 50th Anniversary Edition disc of music from the film, VOYAGE TO THE BOTTOM OF THE SEA, with music by Paul Sawtell and Bert Shefter. The duo’s orchestral score is a great counterpoint to the film’s action, featuring soaring strings and stinging horns throughout. The film’s theme song, sung by Frankie Avalon, is included as well, as is the original demo recording and an alternate song that was rejected, and it’s easy to see why. The package includes a well put-together booklet with in-depth liner notes for every cue.

This year, the company released a deluxe, four-disc set of the music from the television series version of VOYAGE, and I confess that as a fan of the show I was blown away by the level of detail and the sheer amount of music included. Sawtell returned to score the pilot for the series, Eleven Days To Zero, as well as write the main title theme for the show, which has become the most recognizable cue of his career. The modern, maritime-inspired track with the stuttering harp and marimba highlights is unforgettable. The rest of the music measures up as well, with wonderful work from STAR TREK theme composer Alexander Courage, Oscar™ winners Jerry Goldsmith, Nelson Riddle, and so many more. The forty-page booklet with notes by Jeff Bond is an indispensable resource for series fans and film music lovers.

La-La Land Records is a company that truly caters to aficionados and hard-core fans of film music, and these releases reflect their commitment to that audience. Both sets are lavishly constructed to satisfy, and do not fail to do so. If you were thrilled by the exploits of the crew of the Seaview at any point – even if you were aware that some of the episodes were truly awful – grab both releases. Though Irwin Allen may not have always had the best writers on his series, he certainly had the best art directors, designers, model builders, special effects technicians and musical directors.

 

FLYING LEATHERNECKS – 1951
3 out of 5 Bananas
Starring: John Wayne, Robert Ryan, Don Taylor, Janis Carter
Directors: Nicholas Ray
Rated: Not Rated
Studio: Warner Archives
BRD Release Date: September 15, 2020
Audio Formats: English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
Video Resolution/Codec: MPEG-4 AVC, 1080p
Aspect Ratio: 1.37:1
Run Time: 102 minutes
CLICK HERE TO ORDER

John Wayne and Robert Ryan fight the Japanese as well as each other in Nicholas Ray’s FLYING LEATHERNECKS. As Wing Commander and Executive Officer of a USMC air attack group in the Pacific in 1942, the actors play men who are two sides of the same coin—Wayne is cold and impersonal in his leadership style, but has a soft emotional center that he keeps to himself, while Ryan wears his heart on his sleeve but struggles with parsing the harsh realities of war. As the two career officers shepherd a group of short-timer, hotshot pilots that steadily succumb to the enemy, they eventually meet in the middle, but not without some fireworks first.

As the son of a USMC pilot myself, I’ve seen almost every film ever made on this subject matter and this one is an entertaining, sobering look at what must have been, to borrow the title of another film, hell in the Pacific. It doesn’t pull punches as the flight group withers due to enemy action, and the combination of actual air combat and training footage serves to maintain a gritty, realistic feel throughout.

Flying-Leathernecks-1951

Warner Archive’s single disc package features a crisp, colorful, newly restored print of the film along with the theatrical re-release trailer. Picture and sound are both very good with no artifacts present, making for an entertaining watch. Recommended for WWII movie lovers and John Wayne fans but give it a shot even if you’re skeptical – it’s better than you remember.

 

 

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video*WatcHDog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

Category: Retro Review | Tags: , , , , , , , , , , ,

APES ON FILM: Mysteries, Mermaids, & The Man of Steel, Oh My!

Posted on: Aug 10th, 2020 By:

by Anthony Taylor
Contributing Writer

 Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

SUPERMAN: THE BULLETEERS – 1942
4 out of 5 Bananas
Starring:
Bud Collyer, Joan Alexander
Directors: Dave Fleischer
Rated: Not Rated
Studio: Fleischer Studios
Original Release Date: March 27, 1942
4K Upscale via Waifu2x by Jose Argumendo
Run Time: 8 minutes
CLICK HERE TO VIEW

Every classic film deserves a classic cartoon screening before it! Youtuber and Warner Media employee Jose Argumendo has used an “AI” media suite to upgrade an example of one of the greatest cartoons of all time, a Fleischer Studios Superman cartoon from 1942, THE BULLETEERS. In the public domain for many years, the Fleischer Superman cartoons have long been relegated to low quality VHS and DVD releases, bundled with other PD animation clips. They are actually gorgeously rendered, high-quality animation that has rarely been duplicated, and it’s great to finally see one in such a high resolution presentation, though speckles, scratches, and other artifacts are still present. It would be great to see Argumendo run another pass through existing software to eliminate those issues as well.

Not released on disc (yet!), you can only view this wonderful animated short on Youtube at the link above. Do yourself a favor and click it now and enjoy the exploits of the “Man of Steel” as he protects the Art Deco canyons of Metropolis, rescues Lois Lane, and saves the day. Up, UP, and AWAY!

MYSTERY OF THE WAX MUSEUM – 1933
4 out of 5 Bananas
Starring: Fay Wray, Lionel Atwill, Frank McHugh, Glenda Farrell
Directors: Michael Curtiz
Rated: Not Rated
Studio: Warner Archives
BRD Release Date: May 12, 2020
Audio Formats: English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
Video Resolution/Codec: MPEG-4 AVC, 1080p
Aspect Ratio: 1.37:1
Run Time: 77 minutes
CLICK HERE TO ORDER

Perennial screen villain Lionel Atwill keeps handwringing in MYSTERY OF THE WAX MUSEUM to a minimum, proving once again what a great actor he was. No need to overstate the sadness and madness of his character, sculptor Ivan Igor, who loses everything in a fire at the beginning of the movie and spends the rest trying to recapture a flicker of magic that he lost in the flames. KING KONG’s Fay Wray is radiant and fresh throughout, only coaxed into hysterics by director Curtiz for a few screams in the third reel, but this film truly belongs to Glenda Farrell, whose fast-talking, wisecracking girl reporter Florence Dempsey steals all the best lines as well as hearts for the duration of the film. Remade as HOUSE OF WAX in 3D with Vincent Price in 1953, the original version is the superior watch, though both are worth viewing.

Shot in a two strip Technicolor process (red and green), the film has long been available in a washed out, speckled and lined print that originally belonged to Jack Warner. For the Blu-ray release it’s been restored to amazing success by the UCLA Film & Television Archive and The Film Foundation, with principle funding provided by The George Lucas Family Foundation. Colors are rich, though primarily tinted towards red and green, and there are little to no artifacts that haven’t been scrubbed clean. The picture is sharp and looks almost brand new in 1080p resolution. Audio is clear and well-toned. Bonus features include audio commentaries by UCLA Head of Preservation Scott McQueen as well as author Alan K. Rode. Also included are a featurette “Remembering Fay Wray” and a featurette on the film’s restoration.

Though hampered by the lack of an original musical score, especially in the final reel, MYSTERY OF THE WAX MUSEUM is a true classic of its era, and a great film worthy of the restoration lavished upon it. Do not hesitate, grab this disc while it’s available!

MILLION DOLLAR MERMAID – 1952
3 out of 5 Bananas
Actors: Esther Williams, Victor Mature, Walter Pidgeon, David Brian, Donna Corcoran
Directors: Mervyn LeRoy, Busby Berkeley
Rated: Not Rated
Studio: Warner Archives
BRD Release Date: July 28, 2020
Audio – English: DTS-HD MA 2.0 Mono
Video Codec: MPEG-4 AVC
Resolution: 1080p
Aspect ratio: 1.37:1
Run Time: 110 minutes
CLICK HERE TO ORDER

“I learn much from people in the way they meet the unknown of life and water is a great test. If they come to it bravely, they’ve gone far along the best way. I am sure no adventurer nor discoverer ever lived who could not swim.” – Annette Kellerman

MILLION DOLLAR MERMAID tells the life story of Annette Kellerman, a pioneering aquatic performer and professional swimmer who created not only the sport of Synchronized Swimming and the modern one piece bathing suit for women, but also the cinematic nude scene in 1916’s A DAUGHTER OF THE GODS. Mervyn LeRoy’s film plays fast and loose with the facts of Kellerman’s life, but ultimately entertains thanks to solid performances from his cast, especially Esther Williams as Kellerman and Walter Pidgeon as her father. Williams was more than just a swimmer with a pretty face, she was a pretty fine actress.

What exactly do I mean by “fast and loose”, you ask? For one thing, none of the characters portrayed as Australians have any hint of an Aussie accent. None of the details of Annette’s personal life match up to reality except that she married her manager, James Sullivan, in 1912. Writer Everett Freeman’s screenplay introduces a lot of dramatic crossfire by adding a pseudo-romance with David Brian’s character, as well as a near fatal accident on a movie set that I can find no mention of in researching her life. However, the film will keep your attention as it rolls along thanks to its sharp dialog and amazing set pieces, especially as Williams cavorts in water tanks with dozens of other water ballet “dancers,” under the sure direction of Busby Berkeley. These sequences are worth the price of admission alone.

Picture quality is high, and the audio is crisp and well-balanced. The film is very colorful and looked gorgeous on my screen throughout thanks to a new 4K restoration. As with many high-resolution transfers, there is a bit of visible film grain, but not to a distracting level. Extras include an equally beautiful and hilarious MGM Tom & Jerry cartoon called “Little Quacker,” a vintage short subject called “Reducing,” a vintage radio adaptation featuring Williams and Pidgeon, as well as the theatrical trailer.

I’ve seen other reviewers recommend this for fans of Williams only, but I enjoyed the movie. As long as you realize its completely fictionalized, it’s quite watchable.

 

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video WatchDog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

Category: Retro Review | Tags: , , , , , ,

APES ON FILM: Romance on the High Seas and the Docks

Posted on: Jul 20th, 2020 By:

By Anthony Taylor
Contributing Writer

Welcome to the first installment of Apes on Film on ATLRetro! This column exists to scratch your Retro-film-in-high-definition itch. Going forward we’ll be reviewing new releases of vintage cinema on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in Retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

 

 

ROMANCE ON THE HIGH SEAS (1948)
2.5 out of 5 Bananas
Starring: Jack Carson, Janis Paige, Don DeFore, Doris Day, Oscar Levant
Directors: Michael Curtiz, Busby Berkeley
Rated: Not Rated
Studio: Warner Archives
BRD Release Date: June 16, 2020
Audio Formats: English: DTS-HD Master Audio 2.0 Mono
Video Resolution/Codec: 1080p AVC/MPEG-4
Aspect Ratio(s): 1.37:1
Run Time: 99 minutes
CLICK HERE TO ORDER

Film Still: Doris Day Romance on the High Seas

Doris Day bows on film as a cabaret singer caught in a wacky web of marital deception in the sort of screwball musical comedy she’d go on to perfect. This one is a bit too enamored of itself and the oh-so-whimsical, Preston Sturges-esque dialogue of the era; the problem is that no one bothered to have Preston Sturges actually write the film, so much of it just seems stilted and flat. The most entertaining lines and comedic bits come from background players. The musical numbers are forgettable and mostly fail to enthrall, the exception being “It’s Magic,” the picture’s finale. Throughout, the saving grace is Doris Day, who remains sparkling and a joy to watch. Hard to believe this was her first film, truly.

Warner Archive’s Blu-Ray release includes the film, its theatrical trailer, and a classic Bugs Bunny cartoon (“Hare Splitter”)—which is not presented in HD and laden with artifacts. The film itself looks gorgeous with deep blacks and vivid colors. Sound is adequate in MA 2.0 Mono.

Recommended for the completist, Doris Day fans, and lovers of period musicals.

 

CANNERY ROW (1982)
2 out of 5 Bananas
Actors: Nick Nolte, Debra Winger, Audra Lindley, Frank McRae, M. Emmet Walsh
Directors: David S. Ward
Rated: PG
Studio: Warner Archives
BRD Release Date: June 9, 2020
Audio – English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
Video Codec: MPEG-4 AVC
Resolution: 1080p
Aspect ratio: 1.85:1
Run Time: 121 minutes
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Film Still: Cannery Row, Nolte and Winger

Like Robert Altman’s POPEYE a mere two years earlier, David S. Ward’s CANNERY ROW concerns the effects a stranger’s arrival has on a small, seaside town filled with hobos, eccentrics, and the feeble-minded, and like the earlier movie, it misses the mark. Also based on well-loved source material, written and directed by a true wunderkind of the era (Ward wrote arguably one of the best movies of all time, THE STING), and featuring a cast of enormously talented performers, CANNERY ROW is the victim of its first-time director’s self-indulgent excess and misunderstanding of the process he was into up to his neck. Almost everything about the movie is too “on-the-nose,” eschewing innovation for cliché, from the production design to the score. Especially rancorous are the performances of the supporting cast, who Ward must have encouraged to chew scenery like it was bubble gum. The good in all of this are the performances of Nolte and Winger, who keep things on track even as the film meanders around aimlessly for its second half. Also, of note is Director of Photography Sven Nykvist’s cinematography, which is lush and evocative throughout.

Warner Archive’s Blu-ray release is bare bones, including just the film and its original trailer. Film grain is apparent throughout and heavy in many of the darker scenes, but overall, it’s a very watchable presentation. Audio seemed uneven from a volume aspect, but otherwise serviceable.

I wish I could recommend CANNERY ROW, but it is a very mixed bag. Nolte’s performance is nuanced and subtle at times, from the era when he was still capable of such a thing. Worth a watch for that if you have time to kill.

 

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video WatchDog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

Category: Retro Review | Tags: , , , , , , , , , , , , , , , , , , , ,

Kool Kat of the Week: Rule-Bending and Award-Winning Author, Nancy A. Collins, Joins the Mayhem and Monster Madness at MONSTERAMA 2019

Posted on: Sep 23rd, 2019 By:

by Melanie Crew
Managing Editor

Nancy A. Collins, award-winning multi-genre author, will be joining a sinister line-up of horrorific guests during Monsterama Convention’s sixth frightening rotation around the sun! Monsterama, co-chaired by our classic monster-lovin’ fiend, friend and Kool Kat Anthony Taylor, creeps into the Atlanta Marriott Alpharetta this weekend, Friday – Sunday (Sept. 27-29)!

Prepare for a ghastly weekend of ghoulish proportions including a guest list filled to the blood-curdling brim with chillers like actor Ian Ogilvy [RETURN OF THE SAINT (78-79); DEATH BECOMES HER (1992); THE SORCERERS (1967)]; actress Jane Merrow [THE SAINT (1965); THE PRISONER (1967); THE AVENGERS (1967)]; actress Pauline Peart [THE SATANIC RITES OF DRACULA (1973); CUBA (1979)]; comic artist Craig Hamilton; author Jeff Strand [EVERYTHING HAS TEETH; FEROCIOUS; BLISTER]; creaturific artist Kool Kat Mark Maddox; Victorian chamber metal musicians Valentine Wolfe; Kool Kat Shane Morton, ghost host with the most, a.k.a. Professor Morte; glamour ghoul Kool Kat Madeline Brumby and so many more! Get wicked with our Kool Kat Nancy A. Collins and haunt on down to MONSTERAMA for a weekend of monster madness!

Collins’s writing career spans 30+ years as a spinner of wild monstrous tales in novels, comic books and short stories. She brought her infamous character Sonja Blue to life in her first novel SUNGLASSES AFTER DARK in 1989, which went on to win the Bram Stoker Award for best first novel. Collins expanded the Sonja Blue universe with several sequels and is currently working on new dark adventures for her infamous goth-punk vampire/vampire hunter character. Collins is the only woman to pen DC/Vertigo’s SWAMP THING, bringing much-needed controversy to Swamp Thing’s predominantly male perspective, from 1991 to 1993. In 2014, Collins was the first woman to be asked to write VAMPIRELLA, again giving the well-known character a new outlook with untapped new monstrous story lines and more.

ATLRetro caught up with Nancy A. Collins for a quick interview to talk comics; being drawn to monsters; killing it in a generally male-driven industries; and the monster mayhem of being a guest at MONSTERAMA!


ATLRetro
: Your debut horror novel Sunglasses After Dark [goth-punk vampire goodness featuring kick-ass vampire/vampire hunter Sonja Blue] was released in 1989 and won the Bram Stoker Award. Can you tell us what inspired you to go against the grain and create your own style of vampire?

Nancy A. Collins: SUNGLASSES AFTER DARK was, in many ways, a middle finger to the then-current best-selling VAMPIRE CHRONICLES series by Anne Rice. It was my revolt against the “pussification” of the vampire. Little did I know that it would get even worse, decades later, with the TWILIGHT series.

Following your debut, you released several others in the series [IN THE BLOOD (1991); PAINT IT BLACK (1995); A DOZEN BLACK ROSES (1996); THE DARKEST HEART (2002); and a collection titled DEAD ROSES FOR A BLUE LADY in 2002], all followed by vignettes and novellas and comics. Basically, you’ve kept Sonja Blue “alive” and kicking for a hellacious thirty years! Any exciting new horrors coming our way in the land of Sonja Blue?

Sonja Blue – Art by Mel Odom

Well, I’ve been working on a new Sonja Blue novel called Kill City for the last five years. It’s a reaction to the most recent “de-fanging” of the vampire genre. Unfortunately, it’s been slow going due to my need to work paying gigs to keep body and soul together. But I would describe it as a cross between THE BIG SLEEP, HARDCORE, and THE SEARCHERS, but with vampires. And it’s the first novel to be told from Sonja Blue’s POV.

On to your monsterific comic book endeavors! From SWAMP THING, to JASON VS. LEATHERFACE, to VAMPIRELLA and beyond, you’ve delved deep into the land of what once was a male-dominated field. Can you tell our readers how you broke the barrier and what obstacles you had to face that your male counterparts avoided?

I landed the gig writing SWAMP THING largely for three reasons: DC was looking for a horror writer to take the character back to his “roots” (pun intended); I’d worked with the then-new editor on the book, Stuart Moore, on a Freddy Krueger prose anthology, and he put me on his short list because he’d had the fewest edits on my story; and, I was living in New Orleans at the time, and was able to provide local flavor. I was the first woman to write for SWAMP THING, and to date the only one, as well. For the most part, I did not run into any real obstacles regarding my gender among the editors and staff at DC. Most of the push-back I got was from the fans, many of whom did not appreciate or understand my focus on Swamp Thing as a “family man” and the emphasis on his family. I also received some blowback for depicting LGBTQ characters and depicting ecologically-driven protestors as something besides terrorists. I remember a particularly virulent letter from a fan who resented my depiction of abortion as a fact-of-life for many women. I also got a lot of hate for ending Swamp Thing and Abby’s marriage (an editorial edict, btw), for which some fans have still not forgiven me, decades later. However, DC/Vertigo is releasing my entire run on Swamp Thing in early 2020 in a hardcover omnibus format—nearly 1,000 pages—called the SWAMP THING BY NANCY COLLINS OMNIBUS. It’s currently available for pre-order through Diamond Distribution and Amazon, among other outlets.

Art by Scott Eaton and Kim DeMulder

What was it like to be the first woman writing Vampirella, a character created by the one and only Forrest J. Ackerman? There’s got to be an interesting story about how you landed that gig. Care to share?

I ended up writing VAMPIRELLA largely due to Gail Simone, who asked me to write a story for her RED SONJA miniseries “Legends of Red Sonja” for Dynamite. It was my first comic story in fifteen years. I then pitched Nick Barrucci a Red Sonja one-shot called “Berserker,” which sold extremely well. Then Nick offered me VAMPIRELLA and allowed me free reign. As one of my mentors at DC Comics had been the late Archie Goodwin, one of the first real writers on VAMPIRELLA, I always felt he was looking over my shoulder the whole time I was working on the book. I’d like to think Archie would have approved.

Can you tell us one thing you did with the character, stepping away from the usual male-created female characters, to bring her into the twenty-first century, a character both men and women would be drawn to and proud of?

I often joke that I was probably the first writer on the series to never pleasure themselves to the character, which might have something to do with how I approached my run. I chose to reach back to characters from the original Warren run and incorporate them via modern storytelling into the series’ continuity. I also made the decision to make Vampirella a more integral part of the supernatural world by bringing in classic “monsters” from myth, legend, and the public domain, and expanded on her family and backstory. I also gave her a werewolf boyfriend and depicted their relationship as that of equal partners. Vampirella in my series is a no-nonsense monster-hunter with a well-defined sense of right and wrong but is also capable of recognizing her own prejudices and misconceptions regarding her fellow “monsters”.

What can you share about your current collaboration with comic artist Craig Hamilton? Anything monstrous and exciting being brought to life?

Art by Patrick Berke

Craig Hamilton and I, along with inker Larry Welch and colorist Gerhard, are working on BECOMING FRANKENSTEIN, a six-issue graphic series from Mel Smith’s Wild Card Ink. It is a prequel, of sorts, to Mary Shelley’s Frankenstein. I’m not allowed to say much more than that, for the time being. But I will say that Craig’s art on it is absolutely gorgeous and we’re intensely proud and excited of what we’re creating. Becoming Frankenstein is shaping up to be best work of both our careers.

Before you became “Author Nancy A. Collins,” what inspired you to write? Did you begin writing as a child?

I’ve always been a storyteller. Even before I could read and write, I would draw stories and stand next to my parents and explain what was going on. It was a given from the age of three that I would eventually become a writer. Marked from birth, I guess you could say.

Have you always been drawn to monsters? Care to share your favorite monster or horror story? What makes that story special to you?

Like I said, I was marked from birth. My maternal grandfather was a huge Boris Karloff fan, and introduced me to the genre very early. It also helped that I grew up in the 1960s, when monster mania was percolating in the kid subculture with stuff like THE ADAMS FAMILY, THE MUNSTERS, Hammer Films, late night horror movie hosts, and GODZILLA flicks. It is hard for me to pick a favorite monster or horror story, but the first one that I can remember was a Dr. Seuss story about a pair of green pants with nobody in them that walked around on their own, which scared the bejesus out of me as a 3-year-old, for some reason.

Which writer from the past and which writer from the present have influenced and continue to influence you the most, and what is it about them that draws them to you?

There have been so many. But of the past, I would have t0 say Robert Bloch, who I would later meet as a young writer. Bob befriended me and was like a second grandfather. I devoured his short story collections, which are routinely excellent and the yardstick I use for what I consider makes a great short story, especially when it comes to weird/dark fiction.

Not only are you a killer storyteller, but you’re also a spooky horror film junkie and fanatic like us! Can you tell us your favorite horror movie and why it ranks at the top of your list?

I would have to say my favorite remains the original THE HAUNTING from 1963. It is a textbook example of how the viewer’s own mind can create far more intense scares than a room full of CGI technicians. Even after all this time, I still get goosebumps watching it.

As a writer working in the science-fiction, urban fantasy and horror genres, what challenges have you personally faced that seem to be a common theme amongst women in the industry?

Mostly being pigeonholed. I’ve written westerns, Southern Gothics, erotica, crime noir, urban fantasy, as well as horror—but I largely get described as a “vampire writer”, and that has become a largely female-centric field, in a lot of people’s minds. I also find myself labeled a “Strong Woman”, which is the nice way of saying I’ve had to put up with a lot of bullshit that male writers rarely are subjected to.

Can you give us five things you’re into at the moment that we should be watching, reading or listening to right now— past or present, well-known or obscure?

I’m currently enjoying the final season of PREACHER on FX, as well as the third and final season of LEGION, also on FX. I’ve also been binging THE BOYS on Prime. I also recommend GENTLEMAN JACK; a historical romance/drama on HBO about Anne Lister, an actual Regency-era noblewoman who lived openly as a lesbian, and even went so far as to marry another woman.  And I always recommend watching THE VENTURE BROTHERS, regardless of the situation.

Any advice for women writers out there trying to get their foot in the door?

I have the same advice I give everyone, regardless. Keep submitting your stuff. Learn to tell the difference between legitimate criticism and bullshit. Nothing you write is carved in stone. Never fight with an editor. Never respond to the reviews on Amazon.

Getting back to what brought us here, MONSTERAMA 2019! Do you have anything exciting planned for our readers this year?

I’m hoping we’ll have the full-color promo posters for BECOMING FRANKENSTEIN ready in time for MONSTERAMA! If so, Craig Hamilton and I will be there signing them. And I’ll be on several panels over the weekend. The first is 6pm Friday, where I discuss Swamp Thing. The second is 10am Saturday, where I’ll be on a Southern Gothic panel, and the third is 10am Sunday, where I’ll be yacking about werewolves. Otherwise, I’ll be at my table in the dealer’s room.

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The Horror! The Horror! Our Top Reasons to Monster Mash it up at the 5th Annual MONSTERAMA CONVENTION

Posted on: Oct 3rd, 2018 By:

by Melanie Crew
Managing Editor

The horror! The horror! Atlanta kicks off its Halloween celebrations with a bang! Spook up the weekend with a whole lotta horror classics by haunting on down to the fifth annual Monsterama Convention invading the Atlanta Marriott Alpharetta and haunting all your senses this weekend (Oct. 5-7)! From legendary actors to spookshows to monstrous sightings, here are our top reasons to get your classic monster fix at MONSTERAMA!

1)  200th ANNIVERSARY CELEBRATION OF FRANKENSTEIN. Valentine Wolfe is back for another year with the release of their new creation,THE HAUNTING OF MARY SHELLEY,providing an eerie auditory experience as they accompany Thomas Edison’s 1910 classic silent horror film, FRANKENSTEIN, on Saturday at 1pm, featuring narration by Kool Kat Madeline Brumby!

2) SILVER SCREAM SPOOK SHOW. Kool Kat Shane Morton, a.k.a. ghost host with the most, Professor Morte and the Silver Scream Spook Show featuring the Go-Go Ghouls will terrify with a live spook show featuring special guest Luciana Paluzzi at 4pm, followed by a spook-tacular screening of Kinji Fukasaku’s THE GREEN SLIME (1968) on 16mm, Saturday beginning at 4pm!

3) FANGTASTIC FILM. It’s monster movie madness with screenings of horrorific classics (mostly screening in 16mm) including Jules Bass’ MAD MONSTER PARTY (1967), Don Dohler’s FIEND (1980), Howard Ziehm’s FLESH GORDON (1974), Kinji Fukasaku’s THE GREEN SLIME (1968), Thomas Edison’s FRANKENSTEIN (1910), Paul Annett’s THE BEAST MUST DIE (1974), Mel Welles’ LADY FRANKENSTEIN (1971), Paul Naschy’s NIGHT OF THE WEREWOLF (1981), Val Guest’s WHEN DINOSAURS RULED THE EARTH (1970), Sam Irvin’s ELVIRA’S HAUNTED HILLS (2001), Jim O’Connolly’s THE VALLEY OF GWANGI (1969)
and more!

4) CINEPROV RIFFS THE FIEND. Madness, monsters and corpses OH MY! Hilarity ensues as New MST3K writer Larry Johnson and CINEPROV riffs Don Dohler’s FIEND (1980) in 16mm, Friday at 10pm!

5) SPOOKTACULAR GUESTS. Catch some killer guests, including our Kool Kat of the Week, Director Jeff Burr (FROM A WHISPER TO A SCREAM), Sam Irvin (ELVIRA’S HAUNTED HILLS; OBLIVION), Mark Goddard (LOST IN SPACE; THE RIFLEMAN), Luciana Paluzzi (THUNDERBALL; THE SIX MILLION DOLLAR MAN), Rachel Talalay (FREDDY’S DEAD: THE FINAL NIGHTMARE; TANK GIRL), Ken Sagoes (A NIGHTMARE ON ELM STREET 3), creaturific artist Kool Kat Mark Maddox, Kool Kat Shane Morton, ghost host with the most, a.k.a. Professor Morte, glamour ghoul Kool Kat Madeline Brumby and so many more!

6) MONSTER MAKEOVERS.  Get gore-gous with monster make-up galore as part of this year’s Makers Track! Kevin Moe delivers a monstrousMask Makingpanel, Fri. at 9:30pm! Bethany Marchman-Arriagada apes it up with herGirl Makes Gorillapanel, Sat. at 10am! And win some monstrous prizes with the annual FACE-ON make-up contest, Sat. at 5:30pm! And don’t forget to stick around for a creeping cornucopia of frightful faces and monster masks!

7) WARPED WRITERS & LITERARY PANELS. Writers make the monstrous world go ‘round, so check out guest authors, Dacre Stoker, Bram Stoker’s great grand-nephew (DRACUL; DRACULA THE UN-DEAD), Nancy A. Collins (VAMPIRELLA; SUNGLASSES AFTER DARK), Georges Jeanty (BUFFY THE VAMPIRE SLAYER Comics), James A. Moore (THE LAST SACRIFICE; BLOOD RED), Charles Rutledge and vampire aficionado J. E. Browning (GRAPHIC HORROR: MOVIE MONSTER MEMORIES), and so many more!

8) SCARE-TASTIC SHOPPING. Horror cons are the perfect place to stock up on both classic horror memorabilia, cult classics on DVD and creepy clothing, costumes and accessories. So come on down to the dealer’s room and check out all the toys, collectibles and monstrous goodies you can get your ghoulish little hands on!

9) MONSTER PROM. Hey all you boils and ghouls, get frightfully funky at this year’s Monster Prom, Saturday at 8pm! Dust off the old rat-infested tux, clear out the cobwebs, shine up your shoes and get ready to do the Monster Mash, and maybe even Time-Warp into the wee hours of the morning!

MONSTERAMA main con hours are Fri. Oct. 5 from 2 to 12 a.m.; Sat. Oct. 6 from 9 a.m. to 1 a.m.; and Sun. Oct. 7 from 9 a.m. to 3 p.m. For more info, visit the MONSTERAMA official website here.

 

Category: Features, Retro Review | Tags: , , , , , , , , , , , , , , , , , , , , , , , , ,

Kool Kat of the Week: From Whispers to Screams, Director Jeff Burr Becomes One with the Monsters as a Fangtastic Guest at the 5th Annual MONSTERAMA CONVENTION

Posted on: Oct 2nd, 2018 By:

by Melanie Crew
Managing Editor

Jeff Burr, local award-winning independent filmmaker, will be joining a sinister line-up of horrorific guests Monsterama Convention’s fifth frightening year, co-chaired by our classic monster-lovin’ fiend, friend and Kool Kat Anthony Taylor, creeping into the Atlanta Marriott Alpharetta this weekend, Friday – Sunday (Oct. 5-7)! Prepare for a ghastly weekend of ghoulish proportions including a guest list filled to the blood-curdling brim with chillers like Luciana Paluzzi (THUNDERBALL; THE SIX MILLION DOLLAR MAN); Rachel Talalay (FREDDY’S DEAD: THE FINAL NIGHTMARE; TANK GIRL); Ken Sagoes (A NIGHTMARE ON ELM STREET 3); creaturific artist Kool Kat Mark Maddox; Victorian chamber metal musicians Valentine Wolfe; Kool Kat Shane Morton, ghost host with the most, a.k.a. Professor Morte; glamour ghoul Kool Kat Madeline Brumby and so many more! So why not get wicked and haunt on down to MONSTERAMA for a weekend of monster madness!

Burr’s film career spans 30+ years as writer, director, producer and actor. His love of filmmaking spawned as a child growing up in Dalton, GA, with the production of Super 8 films with his neighborhood friends, and became full-on reality when he was a student at the University of Southern California. He and classmate Kevin Meyer produced their student film, a Civil War drama, DIVIDED WE FALL in 1982, which gained a lot of attention from film festival goers and jurors, taking home over a dozen awards world-wide. His first feature film, horror anthology FROM A WHISPER TO A SCREAM released in 1987 under the title THE OFFSPRING, starring the Godfather of Horror, Vincent Price, alongside a strong cast of actors and actresses. On April 28, 2015, Shout Factory released their Blu-ray of WHISPER, containing bonus features produced by local horror history expert and documentarian, Kool Kat Daniel Griffith of Ballyhoo Motion Pictures [RETURN TO OLDFIELD, and A DECADE UNDER THE INNOCENCE]. Burr continued to delve deep into the abyss of horror as the director of STEPFATHER II (1989), LEATHERFACE: TEXAS CHAINSAW MASSACRE III (1990), PUPPET MASTER 4 (1993), PUPPET MASTER 5 (1994), PUMPKINHEAD II (1993) and he will continue to play in the filmmaker fire as long as he is able!

ATLRetro caught up with Jeff Burr for a quick interview about his love of film; his first ever feature-length film, FROM A WHISPER TO A SCREAM; his experiences with the one-and-only Vincent Price and this year’s maniacal MONSTERAMA madness!

From A Whisper to a Scream Set – Vincent Price, Jeff Burr

ATLRetro: As a visual storyteller and filmmaker, you’ve played the roles of director, writer, producer and actor for the last 30-plus years. What drew you to become a filmmaker and what keeps you playing the game?

Jeff Burr: I grew up in Dalton, GA and for whatever reason always loved movies. My mom worked for a radio station and had a pass from the local theaters to see any movie for 50 cents, so I saw quite a few movies from a young age. Both of my parents were active in community theater in Dalton, and I always loved going backstage, etc. to see how the sets were built and behind the scenes. I started making Super 8 films with my friends and it grew from there. It is a calling, or an obsession, or an addiction…pick your label. It is one of the most frustrating, heartbreaking, crazy endeavors to make a film – the only thing worse is not doing it! If you will permit a shameless plug, on the Scream Factory Blu-ray of my first feature film FROM A WHISPER TO A SCREAM, there is a documentary by Daniel Griffith called A DECADE UNDER THE INNOCENCE, and that is truly my origin story.

Is there a film you have always wanted to make? Or still plan to make?

Heck yes! I have several films that I want to make. One is a comedy/drama, another is a period adventure film in the vein of THE MAN WHO WOULD BE KING, albeit lower-budget and messy, not unlike AGUIRRE in scale. I am also working with a talented writer from Florida, Jonathan Dornellas, on a horror script about a subject that affects everyone.

You co-directed your final student film for USC, DIVIDED WE FALL (1982), with Kevin Meyer, winning over a dozen awards at film festivals world-wide. Can you tell us a little about the film, and what it felt like to win so many awards as a student filmmaker? And most importantly, how can our readers access the film, if possible?

DIVIDED WE FALL was a period Civil War action/drama that kind of became our own version of APOCALYPSE NOW. The film grew and grew in scale and took close to a year to make. John Agar (a name Monsterama fans would hopefully know and love), Nicholas Guest and David Cloud starred. Future “Leatherface,” R.A. Mihailoff and veteran character actor Mike Shamus Wiles had major supporting parts. Kevin Meyer and I did everything on it – writing, directing, photographing, editing, producing, etc. We dropped out of school to finish it and had a big premiere in November of 1982. The film went on to win awards, etc., but the gates of the Hollywood Studios didn’t magically open for us, as we probably naively thought! I am hoping the film will be included on the upcoming Turbine (germany) release of FROM A WHISPER TO A SCREAM.

Your first feature film and horror anthology, FROM A WHISPER TO A SCREAM (1987) [a.k.a. THE OFFSPRING], which was shot mostly in Dalton, Georgia, just a few short hours north, became a huge cult hit amongst genre lovers. Any fun/scandalous behind-the-scenes stories you’d like to share with our readers?

The making of FROM A WHISPER TO A SCREAM is full of stories, and if you’ll permit me one more shameless plug I would suggest that if you have any interest in the making of a very low-budget regional film in the 1980s there is an amazing documentary on the Scream Factory Blu-ray from Daniel Griffith and Ballyhoo Productions entitled RETURN TO OLDFIELD. WHISPER was my first feature film, and in many ways it felt like an extension of my Super 8 films. I was happy and lucky to have my brother William as one of the producers, and my great and talented friend from college Darin Scott as the other producer and co-writer – not to mention another great college friend C. Courtney Joyner as the other co-writer. The crew was a mix of amateur and professional, and it was an amazing experience. The cast was a dream come true, and getting to work with actors such as Vincent Price, Clu Gulager, Cameron Mitchell, Terry Kiser, Harry Caesar, Rosalind Cash, Angelo Rossitto, Susan Tyrrell and Martine Beswicke was pure artistic bliss. As far as scandalous stories go, you’ll have to see the documentary and hear the commentaries!

Speaking of WHISPER, in your opinion, what are the pros and cons of directing an independent “regional” film vs. a Hollywood studio production?

Well the obvious “con” about doing a regional low-budget film is that you don’t have money to throw at problems that invariably rise up, but the good thing is that you can solve those problems with imagination. It might lead down a different and better path. What was wonderful about making the film was that I had complete creative control, and didn’t have to justify every artistic decision to some producer or executive. I am an independent filmmaker at heart, and that is where I belong. It has only taken me 30+ years to figure out what I knew at age 17! And for the record, I really have never directed a real “studio” film.  I would say I made it to the triple A ballpark but never really took a swing in the major leagues.

What were the advantages of revisiting the neighborhood backlot of your childhood?

Whisper – Roger Corman and Vincent Price unite!

The advantage of shooting a film in Dalton was that I knew some pretty interesting locations and was able to shoot them, and the town itself was incredibly cooperative and enthusiastic. No film had ever been shot there, and of course the process of making a film was very different then. Now there are films made in every small town in America! But Dalton really was a supporting character in the movie, and it could not have been made anywhere else. In a very literal sense, I owe whatever career I have and had to the town of Dalton.

What was it like to work with the “Merchant of Menace,” Vincent Price, a.k.a. Julian White, the historian and thread that tied the terrifying tales together in WHISPER?

Working with Vincent was heaven. Getting Vincent to do the movie was hell. He was just as you would probably expect – generous, funny, so intelligent, warm, and so damn talented. It was an honor, and I do mean an honor, to be able to direct him. But in the process of getting him to do the movie, man oh man there were a few moments I will never forget. Watch the documentary! (And come talk to me at Monsterama – I will tell the whole story!)

In true Price fashion, his character says, “One thing I’ve learned, my dear, is that one is never too old for nightmares.” As a purveyor of horror [TEXAS CHAINSAW MASSACRE III; PUPPET MASTER 4 & 5; PUMPKINHEAD II, etc.], would you agree with this statement? Can one be too old for spooky, nightmarish fun?

No one is ever too old for nightmares. What makes you have nightmares might change, but there will always be delicious dread certain nights when you lay your head on your pillow. And one thing that horror fans (of which I am proud to be one) have is a sense of wonder and humor that keeps you young. I don’t like the phrase “They never grow up.” Better, “They never grow old!” To have a sense of wonder about the world, and an amusement, or bemusement, even of the worst of the world is a great quality to possess.

Do you think you’ll ever return to Dalton to make another feature film?

LET US PREY (early Super 8 film starring Bobby Pike)

I absolutely intend on making more films in Dalton! There is an amazing talent pool in North Georgia, one that is growing as I type this! And the filmmaking infrastructure in GA is here to stay. GODZILLA, KING OF MONSTERS shot for one day in Dalton. I would have fainted if that had happened when I was 14!

Who would you say are the filmmakers or films that inspired you the most and what was it about those particular filmmakers/films that inspired you?

I have been inspired by many films and filmmakers. In the horror genre, David Cronenberg, George Romero, John Carpenter, James Whale, Michael Reeves, Roger Corman – way too many to mention!  Certain fairly obscure films that I saw as a kid and always stuck with me are PHASE IV, EQUINOX, SHOCK WAVES, THE TERRORNAUTS. However, I would say the most influential movie that I have seen is 2001: A SPACE ODYSSEY. I saw it as a kid, and I have seen it many, many times since on the big screen. Just saw it twice in the 50 year anniversary edition.  I don’t know why that film hooked onto me, but it did and it has stayed with me for 50 years. Other directors/films I love are Jerry Lewis, William Friedkin, Orson Welles, Sam Peckinpah, Stanley Kubrick, Andrei Tarkovsky – again too many to mention. To be a filmmaker, you have to be a lover of film, of all film, from all countries.

Can you tell us a little about working for the king of B-films, Roger Corman, at New World Pictures?

I worked in the advertising department with Jim Wynorski, and it was as crazy and as educational as you could imagine. My crowning glory was that my tagline was used for the newspaper ads for SLUMBER PARTY MASSACRE – “He’s dressed to drill!” And a few years later, I had a meeting with Roger about directing Vincent Price, and he came to the set to have a reunion with Vincent!

Would you agree that independent filmmakers have come to rely on the popularization of smaller and more local film festivals, especially genre filmmakers? Why do you feel that film festivals are so important to independent filmmakers?

Film festivals are essential to low-budget indie filmmakers, as it can be the only theatrical exposure that they have. To see a film with an audience and to hear the reactions is uplifting and incredibly educational for filmmakers.  And it is a way to break through the white noise of so many films out there, with word of mouth, reviews, etc. I hope that the theatrical experience for smaller films doesn’t go away!

Can you give us five things you’re into at the moment that we should be watching, reading or listening to right now— past or present, well-known or obscure?

The 50th anniversary reissue of 2001: A SPACE ODYSSEY; the reissue of SMOKEY AND THE BANDIT in Burt’s memory; waiting for Don Coscarelli‘s book on independent filmmaking, TREE OF LIFE Criterion Blu-ray; and waiting for the (soon to be released) TALES FROM THE HOOD 2 from my good pals Darin Scott and Rusty Cundieff!

Any advice for up and coming filmmakers out there trying to get their foot in the door?

The most obvious piece of advice for aspiring filmmakers is get out there and make a film. Make one, learn from it, apply the lessons to the next one, and on and on in a never-ending cycle. Two more things – don’t be more excited about the gear you have to make the film than the story you are telling. Love your actors and cast very, very carefully. A wrong casting decision cannot be fixed in post. In the scripting, shooting, and post processes, take your time so you don’t waste the audience’s. And as quickly as you can, learn that the most important thing to photograph is the human face.

What’s next for Jeff Burr? Anything exciting coming down the pike?

William Burr doubles as Cameron Mitchell (Whisper)

There’s always something exciting coming down the pike! I’ve got projects I am working on, and who knows what lurks down an unknown road?

And last but not least, what are you looking forward to most at MONSTERAMA, one of our favorite local classic monster conventions around!? Anything exciting planned for attendees?

I think I will be on a panel, and there will be full disclosure about any area of my checkered career that anyone wants to know about. I am just looking forward to talking to people that have the same love of movies that I do, and I always learn of films that fell under my radar that I will then seek out, etc. I look forward to seeing Sam Irvin again – he is a great guy and a talented and dedicated filmmaker. And of course to meet Mark Goddard, Luciana Paluzzi, etc.  Meeting and talking to actors you have admired since childhood is a great thrill.  And I have some THE KLANSMAN questions for Luciana!!!

 

All photos courtesy of Jeff Burr and used with permission.

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The Horror! The Horror! Our Top 10 Reasons to Spook on Down to the 4th Annual MONSTERAMA CONVENTION

Posted on: Sep 27th, 2017 By:

by Melanie Crew
Managing Editor

Illustration by Monsterama guest Kat Hudson

What are you up to this weekend? We’re monster mashing it up with a helluva killer Kool Kat extravaganza and more at the 4rd Annual MONSTERAMA CONVENTION, creeping and crawling into town this Friday-Sunday, Sept. 29-Oct. 1 at the Atlanta Marriott Alpharetta! From legendary actors to ghastly séances, here are our top reasons to get your classic monster fix at MONSTERAMA!

1)  THE CABINET OF DR. CALIGARI SCORED LIVE. Valentine Wolfe is back for another year, providing an eerie auditory experience as they accompany Robert Wiene’s 1920 classic silent horror film, THE CABINET OF DR. CALIGARI, Saturday at 1pm!

2) HOUDINI SEÁNCE. You won’t want to miss MONSTERAMA’s first ever séance! And who better to raise your spiritual expectations with a conjuring of medium debunker and escape artist extraordinaire Harry Houdini, than ghoulish guests Kool Kat Shane Morton, Daniel Roebuck and Marcus Koch! Raise your spirits Friday at 11pm!

3) SILVER SCREAM SPOOK SHOW.  Kool Kat Shane Morton, a.k.a. ghost host with the most, Professor Morte and the Silver Scream Spook Show featuring the Go-Go Ghouls and guest, Dick Miller will terrify with a live spook show followed by a spook-tacular screening of Roger Corman’s THE TERROR (1963) on 16mm, Saturday beginning at 4pm!

4) FANGTASTIC FILM AND TWISTED TELEVISION.  It’s monster movie madness with screenings of horrorific classics (mostly screening in 16mm) including Charles B. Griffiths’s DR. HECKYL AND MR. HYPE (1980), featuring guest Dick Miller; Roman Polanski’s THE FEARLESS VAMPIRE KILLERS (1967); Lainie Miller’s 2014 documentary, THAT GUY DICK MILLER; Roy Ward Baker’s THE VAMPIRE LOVERS (1970); an unannounced Ballyhoo Motion Pictures documentary; and a special adults only (21+) screening of guest Brian K. Williams’ newly released SPACE BABES FROM OUTER SPACE with special guests Allison Maier and Ellie Church, and a slew of more slaying cinema! Or get terrified T.V.-style  throughout the weekend and catch screenings of THE OUTER LIMITS – “The Sixth Finger” and “The Architects of Fear”; STAR TREK – “Devil in the Dark” and “Mirror Mirror”; made for TV movie, THE QUESTOR TAPES (1974); and you won’t want to miss a super rare screening of Kolchak THE NIGHT STALKER and more!

5) CINEPROV RIFFS THE LOST WORLD. Madness, monsters and prehistoric creatures, OH MY! Hilarity ensues as New MST3K writer Larry Johnson and CINEPROV riffs Irwin Allen’s THE LOST WORLD (1960) Friday at 9pm!

6) SPOOKTACULAR GUESTS. Catch some killer guests, including Sybil Danning (BATTLE BEYOND THE STARS); BarBara Luna (STAR TREK); Dick Miller (GREMLINS; ROCK ‘N’ ROLL HIGH SCHOOL); visual effects expert Gene Warren Jr. (PET SEMATERY; ELIMINATORS); horror history expert and documentarian, Kool Kat Daniel Griffith of Ballyhoo Motion Pictures; creaturific artist Kool Kat Mark Maddox; Kool Kat Ricky Hess (HORROR HOTEL); filmmaker and set-dec dresser/buyer Kool Kat Dayna Noffke (“Under the Bed”); film score composer Tom Ashton (The March Violets); Kool Kat Shane Morton, ghost host with the most, a.k.a. Professor Morte; glamour ghoul Kool Kat Madeline Brumby, actress Allison Maier (FRANKENSTEIN CREATED BIKERS) and more!

7) MONSTER MAKEOVERS.  Get gore-gous with monster make-up galore as part of this year’s Makers Track! You won’t want to miss SSFXLAB’s “It’s Alive” event, creating Frankenstein’s monster in 3 different ways; SFX for the smallest creatures in your life, with the “Littlest Monster Maker,” event featuring mom/daughter duo, filmmaker Kool Kat Dayna Noffke and ultra spooky Vivi Vivian; and win some monstrous prizes with the annual FACE-ON make-up contest! And don’t forget to stick around for a creeping cornucopia of frightful faces and monster masks!

8) WARPED WRITERS & LITERARY PANELS. Writers make the monstrous world go ‘round, so check out guest authors, Dacre Stoker, Bram Stoker’s great grand-nephew (DRACULA THE UN-DEAD); John Farris (THE FURY); Sean Linkenback (THE ART OF JAPANESE MONSTERS); Charles Rutledge and vampire aficionado J. E. Browning (GRAPHIC HORROR: MOVIE MONSTER MEMORIES). And you won’t want to miss out on some wicked panels of the literary variety including “Our Favorite Trashy Horror Novels,” with Jeff Strand, Clay Gilbert and Eddie Coulter; “Dracula 120th Anniversary Spectacular,” with Dacre Stoker, J.E. Browning and Kool Kat Anthony Taylor; “Nevermore – A Poe Tribute,” with Kool Kat Mark Maddox and Mike Gordon, and so many more!

9) SCARE-TASTIC SHOPPING. Horror cons are the perfect place to stock up on both classic horror memorabilia, cult classics on DVD and creepy clothing, costumes and accessories. So come on down to the dealer’s room and check out all the toys, collectibles and monstrous goodies you can get your ghoulish little hands on!

10) MONSTER PROM. Hey all you boils and ghouls, get frightfully funky at this year’s Monster Prom, Saturday at 8:30pm! Dust off the old rat-infested tux, clear out the cobwebs, shine up your shoes and get ready to do the Monster Mash, and maybe even Time-Warp into the wee hours of the morning, hosted by Professor Morte and DJ Deathskiss!

MONSTERAMA main con hours are Fri. Sept. 29 from 4 to 12 a.m. (with screenings at noon and registration at 3pm); Sat. Sept. 30 from 9 a.m. to 1 a.m.; and Sun. Oct. 1 from 10 a.m. to 5 p.m. For more info, visit the MONSTERAMA official website here.

 

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Kool Kat of the Week: It’s Monster Madness as Anthony Taylor, Monster Kid and Con Co-Chair, Dishes on the 4th Annual MONSTERAMA CONVENTION

Posted on: Sep 26th, 2017 By:

by Melanie Crew
Managing Editor

Anthony Taylor, official Licensing & Brand Manager for the Bram Stoker Estate, author and one helluva monster-kid, co-chairs Atlanta’s favorite classic monster convention, MONSTERAMA, creeping into its fourth hellacious year at the Atlanta Marriott Alpharetta this weekend, Friday – Sunday, Sept. 29-Oct. 1!

Prepare for a ghastly three days of ghoulish proportions filled to the blood-curdling brim with old-school horror connoisseurs like Sybil Danning (BATTLE BEYOND THE STARS); BarBara Luna (THE DEVIL AT 4 O’CLOCK; STAR TREK); Dick Miller (THE TERMINATOR; GREMLINS; ROCK ‘N’ ROLL HIGH SCHOOL); visual effects expert Gene Warren Jr. (THE TERMINATOR; PET SEMATERY; ELIMINATORS); author John Farris (THE FURY); horror history expert and documentarian, Kool Kat Daniel Griffith of Ballyhoo Motion Pictures; creaturific artist Kool Kat Mark Maddox; Kool Kat Ricky Hess (HORROR HOTEL); filmmaker and set-dec dresser/buyer Kool Kat Dayna Noffke (“Under the Bed”); Victorian chamber metal musicians Valentine Wolfe; film score musician/composer Tom Ashton (The March Violets); Kool Kat Shane Morton, ghost host with the most, a.k.a. Professor Morte; glamour ghoul Kool Kat Madeline Brumby and so many more! Get wicked and haunt on down to MONSTERAMA for a weekend of monster madness!

In addition to his duties as MONSTERAMA’s “Monster Kid in Chief,” Taylor has authored THE FUTURE WAS F.A.B.: THE ART OF MIKE TRIM, released in 2014; ARCTIC ADVENTURE, an official THUNDERBIRDS novel released in 2012; VOYAGE TO THE BOTTOM OF THE SEA: THE COMPLETE SERIES – VOL. 2, released in 2010, and more. He’s also penned hundreds of articles published in horror, sci-fi and film fandom publications such as SFX MAGAZINE, VIDEO WATCHDOG, FANGORIA, SCREEM MAGAZINE, HORRORHOUND MAGAZINE, FAMOUS MONSTERS OF FILMLAND and more!

ATLRetro caught up with Anthony Taylor for a quick interview about his monster kid memories; the importance of preserving film and classic popular culture; and this year’s maniacal MONSTERAMA madness!

Illustration by Monsterama guest Kat Hudson

ATLRetro: MONSTERAMA invades Atlanta once again and we couldn’t be more excited! As a life-long monster kid, can you fill us in on the creation of this labor of love and tell us what prompted you to bring a weekend full of classic monsters to the heart of Atlanta?

Anthony Taylor: I’ve attended conventions like Wonderfest in Louisville, KY, and Monster Bash in Mars, PA, for many years and enjoyed them immensely. I’d always wished there was a similar show here in Atlanta. I waited around for that to happen for so long that I finally decided to put it on myself, and Monsterama was born in 2014. Though predominantly focused on classic horror films, we embrace monsters of all genres and media, and try to provide a great weekend for people who like them.

Pop culture/sub-culture conventions, such as MONSTERAMA, are great ways to preserve film and television classics. Why do you think these types of events draw larger crowds year after year? In your role(s) as convention director/Co-Chair, are you seeing larger and larger turnouts at these types of events each year?

I’m not certain they are drawing significantly larger crowds every year; at least not the more focused ones. Dragon Con, absolutely; they appeal to multiple genres and generations. We have grown consistently since 2014, but I know some shows that report a shrinking fan base simply due to the age of the films and media they cover – the fans and those still into them are dying off.  That’s why I feel it’s important for conventions like Monsterama to keep the banner flying. If we don’t, sooner or later no one will care about these stories that we cherish. In my opinion, “millennials” just don’t seem to see film as an art form, by and large. It’s a way to waste two hours and then on to the next distraction to many of them. The films we celebrate are definitely art and deserve to be preserved.

The guests that have appeared at MONSTERAMA have been monsterific, from Ricou Browning to Lynn Lowry to Victoria Price to Caroline Munro to Zach Galligan and so many more. What can you tell our readers about this year’s guests? Anything exciting planned? And who are you hoping to snag for future conventions?

We’ve got FABULOUS guests this year! Dick Miller, the guy from every Roger Corman and Joe Dante movie ever made, will be with us, as will Sybil Danning from BATTLE BEYOND THE STARS and THE HOWLING 2, to name a few. Daniel Roebuck from LOST and Rob Zombie’s HALLOWEEN movies will be signing for free all weekend! We also have BarBara Luna from STAR TREK and the OUTER LIMITS, Academy Award™-winning special effects master Gene Warren, Jr., Lynn Lowry (as you mentioned), and so many more. The complete list is on our website here. Next year I’d love to get John Saxon, as I’ve enjoyed all of his performances.

Not only are you seasoned in the areas of classic film and television fandom from the behind-the-scenes running of conventions, but you’re also a published author (ARCTIC ADVENTURE, an official THUNDERBIRDS novel, VOYAGE TO THE BOTTOM OF THE SEA: THE COMPLETE SERIES – VOL. 2, along with articles published in several fandom magazines). What compels you to write? And what is it about classic pop culture that makes you want to share it with your readers?

I like sharing my joy in all things popular culture with other people. I don’t want to just share my own nostalgic vision on a lot of these subjects — I want to provide readers with context so they can enjoy art on a deeper level. A good example is the graphic novel WATCHMEN by Alan Moore and Dave Gibbons. To anyone who picked it up after 1989, when the Berlin wall came down and glasnost pervaded Eastern Europe, it has a completely different meaning than to those of us who read it while still under the threat of nuclear war. Of course, now might be a good time for a re-read of Watchmen… I’ve written hundreds of articles and interviews for film magazines exposing what goes on behind the camera because that informs what goes on in front of it. Context makes you view art in a completely different light.

Which classic monster and/or movie would you say is the most neglected and what do you think makes them worthy of attention?

I’ve got a few lesser-known favorites, chief among them I WALKED WITH A ZOMBIE and CURSE OF THE DEMON. They both work to frighten or creep out the viewer on a very base level, and both are visually striking. They both create tension via a sort of poetic nomenclature and subvert the viewer’s expectations. I could recommend many films, but if you haven’t seen these two, add them to your list!

Can you tell us a little about some of your favorite monster kid memories?

The first monster I was ever fascinated by (like many) was King Kong. When I was six years old, I traded a few comic books for a gorgeous poster of angry Kong towering over New York City, Fay Wray in his hand– and it scared me so much that I couldn’t sleep with it on my wall! My mom had to re-hang it in my closet so it wouldn’t keep me up at night in terror.

We see that you’re a huge fan of classic toys and model kit building. Do you remember the first model kit? And more importantly, do you still have it?

Around the same age, I began to see ads on the back of comics for Aurora monster model kits and could barely contain my desire for the whole set. The first one I coveted was the Hunchback of Notre Dame, but the first one I actually bought and built was the Phantom of the Opera. I eventually got Frankenstein, Dracula, The Creature and a few more. Unfortunately, my originals do not survive, but I have re-issues of all of them now. Knowing they’re safe in my storage unit gives me a warm, completed feeling from time to time.

I’m sure all monster kids are dying to know — how does one become the licensing & brand manager for the Bram Stoker Estate? That’s got to be one big dream come true. Can you tell us some exciting things you’ve got planned regarding Stoker’s Estate?

I met Dacre Stoker, who runs the estate and is Bram Stoker’s great-grand nephew a few years ago and we get along well. After seeing his presentations on Bram and Dracula several times, I began to realize how much branding potential was being wasted by not having someone overseeing these matters. I spoke with Dacre and we eventually put together an agreement that made me Licensing & Brand manager for the estate. I’m working with companies in the retail mystery box realm, jewelry, tabletop gaming, and others to try and create products that will extend awareness of Stoker and his works. It’s going pretty well so far.

What was your first taste of monstrous terror, and which classic monsters are your favorites?

Aurora Classic Monster model kits

Kong! I also love the many creations of Ray Harryhausen, Dracula, Frankenstein, and Creature From The Black Lagoon. I used to be an indiscriminate collector of monster merchandise, but now I’ve narrowed things down to just a few favorites. I no longer feel the need to own everything ever made!

What about your favorite classic television series?

Gerry Anderson’s UFO – the only monsters in it are humans and humanoid aliens, but the protagonist is a bureaucrat, out on the watchtower keeping the Earth safe from invaders. He’s a hero with a briefcase, and the writing of the show made a big impression on me when I first viewed it. There are lots of great miniature effects and explosions, cute girls in silver cat suits, and groovy music, but it remains one of the most engaging and serious television programs I’ve ever seen.

Can you give us five things you’re into at the moment that we should be watching, reading or listening to right now— past or present, well-known or obscure?

I’m afraid my days of being cutting edge are long past! I mostly listen to’70s and ’80s punk and new wave, with a general leaning towards jangly guitar riffs by bands like The Church, or Crowded House. I haunt Netflix and Amazon Prime for new films and shows like THE OA or THE MAN IN THE HIGH CASTLE (also starring Monsterama guest Daniel Roebuck). I read a lot of bad speculative fiction but I’m genuinely amazed when something as good as Jeff VanderMeer’s BORNE comes along. I like Sirius radio now that I have it, but wish it were priced more reasonably. I’m a huge fan of Kazuo Ishiguro’s writing, especially THE REMAINS OF THE DAY and NEVER LET ME GO.

And back to one of our favorite classic monster conventions, MONSTERAMA – anything extra special in store for con attendees this year? Any special events planned we should put on our calendar? So many great things!

Friday we have a concert by our heavy Victorian metal house band, Valentine Wolfe, a tongue-in-cheek séance to raise the spirit of Harry Houdini, Cineprov will be riffing on Irwin Allen’s production of THE LOST WORLD, and we’re screening guest Brian K. Williams’ film SPACE BABES FROM OUTER SPACE, with stars Ellie Church and Alison Maier in attendance. Saturday is the Silver Scream Spook Show screening THE TERROR, which co-stars our guest Dick Miller, plus our annual Monster Prom where we have truly fabulous door prizes. Valentine Wolfe will also be providing a live, original musical score for the classic German film, THE CABINET OF DR. CALIGARI. Dacre Stoker is bringing some of Bram Stoker’s personal effects to display as well. Sunday the Atlanta Radio Theater Company will be performing BRIDES OF DRACULA live onstage. All this plus many other panels, screenings, exhibits, contests, and demos all weekend long!

A. Taylor and Monsterama 2016 guest, Caroline Munro

And last but not least, what are you up to next? Can you give us some details on any other projects you’re currently working on or will be in the near future?

My partner and I are launching a new convention in Atlanta next Easter weekend called SPY CON. If you’re a James Bond, Kingsman, Man From UNCLE or other Spy-fi fan, you won’t want to miss it! We’re still early in the process, but details are available here. And of course, work has already begun on next year’s Monsterama, which will be classic Sci-Fi and space-horror themed, and is slated to take place at the Atlanta Marriott Alpharetta Oct. 5-7, 2018.

 

 

 

 

All photos courtesy of Anthony Taylor and used with permission.

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