Showing posts with label Tom Savini. Show all posts
Showing posts with label Tom Savini. Show all posts

Monday, April 12, 2010

Post-Wasteland Summations (as much as I can recollect)


Another wonderful Cinema Wasteland has come and gone and, as usual, I feel like Spring has finally arrived. Of course, the temperature plummeted from 80 degrees down to around freezing, bringing with it snow flurries, hail, frogs, locust, the usual lake-effect results. But did that deter any of us? Nay! Nay, I say!

By Sunday, all of us suffering from two-day hangovers were greeted early in the near-noon by the great big flaming ball of death we like to call The Sun (which is a mass of incandescent gas…), searing our blood-shot retinas and revealing to the world that those of us who hadn’t woken up in the same clothes had gotten dressed with the assistance of animated… not birds, the other things—boll weevils.

My personal highlight of the weekend was the surreal moment when mysterious bagpipers arrived and paraded through the bar. Nobody knew where these brave souls came from nor, later, where they went. Nor if they were indeed playing “Amazing Grace” or “Camptown Races”, NOR did it matter! Fortunately, my drunken shriek—“Oh, no! Terrible monsters are attacking those little old ladies!”—went unheard. No bagpipes were harmed during the making of that merriment.

Moments prior to the pipers and a mere half-hour before Jill of LixOnline asurped a corridor for some impromptu hula-hooping, there was some ill-advised inebriated rounds of Twister, wherein many a spectator learned that “Left Foot Red” and “barely-there thong” did not go, so to speak, hand in hand. The less said about the deafening echo the better, but a lightening storm of camera flashes lit up the lobby.

In the “I must be beloved or else I’d be pummel’d” Department, I twice discovered the nippy nature of the weather adverse to my liking, leading me to steal jackets right from the backs of exterior smokers—one person I knew, the other person I knew not. While I brought “borrowed” jackets right back upon my return from my car, I was met with only bemusement. That’s typical of the love amongst the Wastelanders.

My important lesson learned: never laugh while inhaling medicinal medication. It holds up the circle and yields much pointing and mocking. And you risk burning your fingers as you attempt to pass. Also, for future reference, it is ill-advised, after meeting 42nd Street Pete’s daughters, to refer to them directly as “The Spawn of Pete”. Neither of them appreciates it.

Amy and I participated in two film projects—a Canadian-helmed mockumentary starring Rachelle Williams and a non-mocking documentary about Chris Seaver’s Low Budget Pictures oeuvre. As a reward for our participation in the latter, we were given screener copies of two of the newest LBP productions, Deathbone and the oddly touching Geek War, both of which were written, performed and edited by Seaver and company in the car on the way to the show. Six more were filmed in the elevator prior to their screening of I Spit Chew On Your Grave.

All attempts for Michael Varrati, Amy and I to speak only in exposition were thwarted by the demons rum, vodka and “Shut the fuck up!”

The ever-ubiquitous Troma booth was oddly subdued, possibly due to the absence of your Uncle and Mine, Lloyd Kaufman. He was greatly, greatly missed by fans and friends and acquaintances alike. I myself missed being accused of homosexual activity any time I attempted to pass by. And I mean that with all of my heart.

Attention Tom Savini, we have your grandson. In case you were wondering.

To all bootleggers: while I neither condone nor condemn your behavior (not officially, anyway), the MPAA is not a law enforcement organization. If someone comes to your table brandishing an “MPAA Badge” and “confiscates” some of your product, it’s a scam. Please feel free to accompany them outside with your largest neighbors and reduce them to pavement stains. (Legally, I neither condone nor condemn physical violence. Assholery, on the other hand, is not something of which I am a fan unless I am the perpetrator. And even I have more class than that.) If they identify themselves as F.B.I. and their credentials look legitimate, I offer my congratulations for stimulating the economy in such a way that the big boys have taken notice—Kudos!

For Happy Cloud Pictures, it was a banner event, for we unveiled the 10th Anniversary DVD of a little thing we like to call The Resurrection Game, along with the companion Dead Life Graphic Novel and annotated screenplay / scrapbook. Records show that we gave away more DVDs than we actually sold but that’s primarily due to the fact that nearly everyone in attendance had something to do with this release in one way or another. The included documentary features many faces familiar to the Wasteland family, including Mario Dominick (“Films on the Fringe”), Michael Felsher (Red Shirt Pictures), Art Ettinger (Ultra Violent Magazine) and the immortal 42nd Street Pete. (If you haven’t ordered your copy yet, you’re the only one. And don’t you feel foolish?)

Mucho thanks extended to Ken and Pam Kish and all the Wasteland staff and family. The wait for October will be an eternity!


Even Manic-Depressive C'Thulu loves CINEMA WASTELAND! 

Friday, May 18, 2007

New gee-whiz-bang news!

Okay, so some of you may not have seen this on Amy's blog yet. For those of you sub-rock dwellers:

FOR IMMEDIATE RELEASE

Happy Cloud Pictures is proud to announce their next production:
Splatter Movie: The Director's Cut.

An independent production company sets up at a haunted attraction to shoot both a horror movie and the simultaneous making-of documentary, unaware that the set is being stalked by a killer masquerading as one of their own performers. As filming progresses, the line between what's real and what's fiction begins to blur—and then vanishes entirely! Splatter Movie: The Director's Cut takes a time-honored storyline and gives it a Happy Cloud Pictures twist, resulting in a veritable tesseract of a film. The end result will be as much a deconstruction of the slasher subgenre as it will be a new entry in horror history.

To complete this elaborate project, Happy Cloud Pictures is teaming up with the Hundred Acres Manor, Pittsburgh's only 100% volunteer based tri-themed haunt benefiting Homeless Children's Education Fund and Animal Friends. This immense attraction will virtually be a character itself in the film, providing a wonderfully-macabre landscape for the characters to play.

With a script from Mike Watt (The Resurrection Game, Dead Men Walking), Splatter Movie: The Director's Cut will star and be directed by Happy Cloud Pictures co-founder Amy Lynn Best (Abattoir, Severe Injuries) and will co-star legendary special effects artist and actor Tom Sullivan (The Evil Dead)! Also joining the cast are Elske McCain (Poultrygeist) and Best's Abattoir cast-mates Sofiya Mina Smirnova, Rachelle Williams (Jess Franco's Take Away Spirit), Alyssa Herron, Nic Pesante, Stacy Bartlebaugh-Gmys Jeff Waltrowski (Project Valkyrie) and Don Bumgarner.

Keep checking back at
happycloudpictures.net or www.myspace.com/happycloudpictures for updates and news about this exciting project.

Now then, this is something we're extremely excited about. The project was inspired by a short film Amy shot with Devi Snively and Jane Rose back in March called, I kid you not, I Spit on Eli Roth (read all about it in Sirens of Cinema #7 - on sale now!). The shoot was set at the aforementioned Hundred Acres Manor - which is about a mile long of twisting, turning corridors and spooky rooms (not to mention an enormous maze that had us all lost for about twenty minutes when we visited with Mike and Carolyn and Anders Erikson and Melinda Kreuger at Halloween).

While shooting the short, I knew I wanted to shoot something of our own there. The place was begging for something bizarre and sinister and violent, but... what? A slasher movie seemed obvious - too obvious. Plus, we already did a slasher movie, albeit a comedy (i.e. Severe Injuries for those not paying attention). But the idea kept gnawing at me every time I'd head toward the upstairs make-up room, inevitably turn the wrong way and slam my shin into a coffin hidden in a room where we hadn't located the lights yet.

Multiple times over the weekend, I creeped myself out. I always found Haunted Houses to be cheesy fun, where you laugh when the high school volunteers leap out at you, their over-sized masks covering their eyes. Being in this enormous haunt pre-season, and having a lousy sense of direction, I couldn't shake the feeling of being watched, the distant sense of panic of getting lost (which stems from a tragic Boy Scout woods retreat), etc. So, okay, I knew the story was going to be a slasher movie. But how the hell do you make an original slasher movie? If the recent Hollywood offerings were any indication, you apparently can't. This latter theory is also backed up by the slew of indie fare I've suffered through recently (not everything - don't scream at me - you guys know who did the good stuff).

So the movie-within-a-movie idea came to me - also not terribly original, but I thought I could figure out a unique twist to the entire thing. Both Amy and I have been answering a lot of interview questions lately regarding what makes a horror movie, etc. So if I took the opportunity to actually explore the genre while recreating it at the same time, we just might have something here worth making.

I realized around page 10 that this script was going to be a royal bitch to write. The disjointed nature of the thing dictated that its structure was going to be difficult to find. At the same time, I knew I wanted to incorporate real documentary and interview footage into the narrative, which made things even slipperier to beat into shape. All in all, Splatter Movie was the hardest script I've ever written, and took me the longest ever for a first draft. I was literally averaging about three pages a day. Not to brag, but I usually write MUCH faster than that.

But the resulting draft really felt satisfying once completed. I really do feel like we have something here. It is, if nothing else, very weird. Everyone we've shown it to really likes it. Fred Obermiller, our executive producer, told me he thinks that it's my best work to date, so now I have THAT to live up to. Thanks, Fred. People are coming out of the wood work, too, to help out. Not the least of which Ted Sobek, one of the owners of the Hundred Acres Manor, but also Erik Molinaris at the Douglas School(aka The Savini School) and his team of intrepid and starving students, as well as Mark Marsen and Scott Tyson at Specter Studios, who are donating some props for us to use. So thanks all around to all of these fine folks!

So, we'll see. We have to finalize our production insurance, since we'll be shooting on property not owned by us. Usually, our homeowner's insurance covers us for damage and injury, but there's only so far we can take the idea of "mobile business", so we want to have the policy in place before we shoot to make sure everyone will be safe and protected. But once that's ready, we're set to go. And, as usual, we'll keep everyone posted as things progress.