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“Monsters do exist; in us and among us. They walk in our shadow. They can prey on us more as we fear them less. We should know. We created them.” --- George A. Romero

Horrorphile - November 2006

Care for some more CHIANTI?

November 30th 2006 22:19
Hannibal Rising teaser movie poster
Or perhaps another helping of lima beans? They go so well with the rare and succulent flesh on your plate I so lovingly prepared. It’s so delicious to have guests for dinner, I must say. And, may I add, your taste is impeccable.

Yes, you guessed it, the fifth chapter in the criminal life and wayward career of psychiatrist and exotic chef extraordinaire Hannibal Lector will hit cinemas next year. Hannibal Rising is scheduled for release in Australia on February 15th.

It is a prequel and tells of the early years in Hannibal’s life, from his childhood in Lithuania to his teenage years in France and up to his time in America. It is a dark tale of tragedy and loss, but most significantly, revenge.
Gasbard Ulliel as young Hannibal Lecter
Producer Dino de Laurentiis, who brought Manhunter (1986), Hannibal (2001) and Red Dragon (2002) to the screen (but not The Silence of the Lambs, 1991), says “It is a revenge story that shows why he became a cannibal, but he kills people audiences want to see killed. So while there is a natural revulsion, the sympathy toward Hannibal remains …”

Author Thomas Harris hurriedly penned the novel, which had several original titles (Behind the Mask: The Blooding of Hannibal Lecter, The Lecter Variations, The Story of Young Hannibal Lecter) and then requested to write the screenplay as well, which surprised Laurentiis, who discovered Harris had enough material in the first draft for two movies.

WARNING SPOILERS AHEAD! (But don't worry the flesh is fine!)

young Hannibal and his sister Mischa
The story tells how Lecter was born in the late 1930s into a wealthy Lithuanian land-owning family. His parents were killed by the Nazis when he was six and during the harsh winter of 1944, he and Mischa, his elder sister, had to fend for themselves. They lived in a barn until starving soldiers found them. The men decided to eat one of the children and chose Mischa because she was fatter, killing her with an axe.

It was a truly defining moment for Lecter, a moment of extreme psychological trauma and horror that would gnaw away at him for the rest of his life.
Gong Li as Lady Murasaki
The move is directed by Peter Webber (The Girl with the Pearl Earring) and stars mostly unknowns. Playing the adolescent Lecter is newcomer Gasbard Ulliel, while sultry Gong Li will play Lady Murasaki, the woman who takes in the young Hannibal after his escape from an orphanage and unwittingly becomes a pawn in a revenge plot of Hannibal’s.

This all sounds frightfully tantalising, with the movie’s mouthwatering locales and the tale’s delectable moments of horrific perversity. From the stills it looks like production values are high and the mood and atmosphere will be suitably dark-hued and prickly, like the outer flesh of a well roasted lamb.
young Hannibal Lecter practicing his carving skills
The Hannibal Lecter saga is undoubtedly cinema’s most sophisticated villain franchise. I trust the filmmakers have made sure the cutlery remains as polished and sharp as ever.

Now, how about that glass of Chianti …?


* the images on this page are courtesy Universal Pictures
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Braindead movie still
That’s right! During Braindead’s cemetery carnage there is a brief close-up shot of the zombie grandmother lurching at the camera about to throttle it. That’s me! Well, that was me under a prosthetic mask and wearing prosthetic hands (gloves). Nothing like a bit of body-doubling as a ravaged zombie in a out-and-out splat-stick flick by a director later to become HUGE, for a bit of old school horrorphilic clout and kudos, ay mate?

I pulled out of Victoria University of Wellington for a bit of hands-on experience. Well, that was the idea. I had become frustrated with the curriculum; you couldn’t major in either of the two areas that most interested me: film and drama. This was 1991. I still needed another year’s credits in order to complete my B.A.

Braindead movie poster
But I’d had enough of varsity life. I desired something engulfing in my chosen field. And then my father’s partner mentioned to me to contact film producer Jim Booth in regards to a trainee position on a new horror movie being directed by Peter Jackson.

I scored the position. I can’t remember exactly how, probably a little nepotism and a whole lot of unbridled enthusiasm on my behalf. But there I was about to start work on a full-blown zombie movie! I was stoked!

My official title was Production Assistant Trainee, basically a glorified gopher. I spent a lot of the time production running and liaising with the production coordinator and production manager. However, the title also meant that at any given moment I could be hauled off whatever job I was doing in one department and thrown into another department to assist. It was grueling at times. But there was also a constant air of excitement and anticipation.

It was a twelve-week shoot, of which two weeks were a night-shoot spent in Karori cemetery, Wellington, and four weeks were spent in a huge open-plan house set at Avalon studios shooting the escalating mayhem and carnage that makes up the movie’s last third.

Some of the jobs were hell. Having to be on-set a full hour before everyone arrived and again after everyone left, making sure coffee and tea was constantly available (unit assistance) was not my idea of fun. But hanging with the special effects boys definitely was; watching them create the blood and latex molds, build the miniatures, getting grossed out looking at their pathology “bible”. Dirty horror mischief alright.

Richard Taylor
Richard Taylor was head of the creature and gore effects team, his wife Tania was the administrator. There were eight technicians, as well as Australian veteran Bob McCarron on board for special makeup and prosthetic application. Those boys worked like dogs.

Jed Brophy as Void (Braindead)
But the special effects didn’t stop there, there was another team doing miniatures (a Peter Jackson specialty) and another team of puppeteers working various bits and pieces (of which I had a go operating the punk zombie Void’s disemboweled and re-animated intestine and sphincter! Wahey!), and there was even a chunk of stop-motion photography employed as well, which Richard Taylor and Peter Jackson handled.

Peter Jackson knew where he wanted the budget spent, that was for sure. This was a horror movie for horrorphiles made by a horrorphile. No gore effect was undercut. No blood was spared. In fact Braindead holds the record for largest volume of blood ever used on a horror movie. To get an idea, during the infamous lawnmower scene fake blood was being pumped at five gallons per second! A total of 300 litres of fake blood was used during the movie’s final scene alone!

There is an unpleasant downside to having that much fake blood on set under baking studio lights over several weeks. It becomes very sticky, and starts to give off a really disgusting sickly sweet smell. Everyone was relieved when we wrapped the interior house-set.

The movie was released in America as Dead Alive (another film already had the rights to the title Brain Dead) and was butchered of much of its climatic gore footage. It was my own suggestion to Peter to combine both words as one (my other obscure small claim to horror fame).

It was a chaotic shoot, with numerous scenes being shot in a wham-bam fashion, but that was the visual style Jackson was after. The film has more cuts per half hour than most films have in their entire running time! It’s a blink and you’ll miss it kinda movie. So make sure you have your eyes peeled during the cemetery scenes otherwise you’ll blink and miss my moment of horror glory!

Tim Balme as Lionel (Braindead)
We knew we were making a film destined for cult status (Jackson’s earlier two films were already enjoying that status), but we didn’t envisage Braindead eventually becoming regarded by horror fans the world over as possibly the bloodiest, messiest, over-the-top goriest horror movie ever made. Sure, it’s a real cheeseburger flick, and much of the effects have a B-grade look and feel, but that’s precisely the point. Jackson was never intending to make High Art; this was never going to look like Ridley Scott’s Hannibal (2000).

Braindead is best consumed with heavily buttered, heavily salted popcorn, a super-large coke, and your tongue playfully lodged in your cheek. Its utter splat-stick, and I had a bloody ball being part of it, mate!
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Call me OLD-FASHIONED

November 29th 2006 00:17
Call me old fashioned, but I’m a professional DJ who hasn’t yet embraced the digital revolution, who prefers to take two heavy bags of vinyl to a gig rather than a slim folder full of CDs.

Call me old fashioned, but I’ve chosen the ringing tone on my mobile “nostalgia” which is the actual ringing bell sound from domestic telephones, while my message tone is the voice of someone whistle-hailing, then shouting “Taxi!”

Linda Blair in The Exorcist
And yes, call me old fashioned, but I love old school horror where all the special effects makeup and stunt work is applied and filmed in front of the camera, not the rapidly increasing use of computer generated imagery done in post-production.

I know there are numerous advantages to utilising computers. Certainly financial ones as far as the producers are concerned. But the humble reasoning for using prosthetic make-up effects fits claw in glove with the whole aesthetic of the horror film.

Right from the beginning when filmmakers first turned to stories of ghosts, ghouls, haunted houses and monsters shuffling in the darkness, they achieved the desired visual effects by way of fabrication, manipulation and illusion in front of the camera lens - the prestige of the nightmare, if I may be so bold.

There was a magic to behold in creating images of horror and terror through the use of clever prosthetics, tricky lighting, camera-cranking, smoke and mirrors and hidden harnesses.

Street Trash movie poster
The levels of ingenuity increased steadily amongst the practitioners and technicians. Then in the 70s the special effects make-up artist became the true wizard of the horror movie. No longer was his production credit relegated to somewhere hidden amongst costume fitter and hair stylist in the end credits.

The extraordinary achievements these artists reached during modern horror’s crimson heyday is something to behold indeed. I’ve said it before and I’ll say it again SFX moves pretty fast, if you don’t stop and check this shit out you may just miss some of the best old school effects work that has ever been committed to celluloid.

It won’t be long before all features are “filmed” directly to digital master, and every single effect will be a digital composite or CGI, while featured extras and even some of the cast’s small speaking parts will be digitally “performed” (I dread the day).

Some of the landmark kinds of visceral SFX makeup work that will be replaced by CGI;
• Dick Smith’s diabolical possession of Linda Blair in The Exorcist (1973).
• Rick Baker’s daylight werewolf transformation from An American Werewolf in London (1981) and his surreal body-technology mutations in Videodrome (1982)
• Rob Bottin’s outlandish alien transformations, mutations and killings in The Thing (1982), also his werewolf transformations in The Howling (1981)
• Tom Sullivan’s human dismemberments and demonic possessions in The Evil Dead (1982)
• Tom Savini’s graphic zombie surgery and destruction of humans by zombies in Day of the Dead (1985), as well as his earlier work in Dawn of the Dead (1978)
• Stan Winston’s extra-terrestrial animatronic work in Aliens (1986)
• Jennifer Aspinall and Tom Lackey’s elaborate melt work and human degradation in Street Trash (1987)
• Richard Taylor and WETA’s messy zombie carnage in Braindead (1992)

Curiously (and with great relief) I learnt that both Dick Smith and Tom Savini teach a Special Effects Make-Up Program at Douglas Education Center in Pennsylvania where they incorporate an advanced professional makeup seminar into the program’s last semester. But before I get too righteous about these guys and champion their hard work to death, one has to keep things in perspective.

Filmmakers the world over are embracing digital technology at a rapid rate. Yet until digital technology becomes dirt cheap, DIY filmmakers (like some of the practitioners above once were) will always be looking for ways of creating the illusion and fabricating the effect that doesn’t cost a severed arm or leg, using only basic materials, practical ingenuity, a little love and passion, and, above all, a good old-fashioned horror know how.

For an unusual, yet very convincing example of elaborate prosthetic make-up click here to see the before and after of how special effects make-up artist Neil Gorton transformed supertrash model Jordan (Katie Price) into a middle-aged bag lady for a UK reality show Jordan Gets Even (2005).


* the images on this page were taken from the following wikipedia pages:
The Exorcist and Street Trash
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… Hollywood has remade The Hitcher. One of the best road horror movies ever, severed fingers down. Why? Because they can.
The Hitcher remake

The Hitcher (1986), directed by Robert Harmon with a steely grip on those elusive cult handlebars, featured Rutger Hauer in his other defining Hollywood role; John Ryder, the Psychopathic Boogeyman from Disneyland. It was such a distinct and brilliantly evil performance, further enhanced by the film’s creepy, nihilistic look and feel


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The Dark Half vs. The Dark Half

November 23rd 2006 23:04
It seems a mute point. Will there ever be a movie adaptation of a Stephen King novel that’s actually really good? The simple answer is, probably no. There hasn’t been so far, and pretty much every thing King has written has been turned into a feature or a short. So why should we hold out hope, because hope springs eternal? Only in a King novella I believe.

The Dark Half novel
King published The Dark Half in 1989. At story’s end King (as he often does) cites the initiation and completion dates of the writing process. In this case; November 3, 1987 – March 16, 1989. It took him nearly a year and a half to write the novel. Not bad. The movie version probably took three months at the most. But hey, most of the job is done, so the filmmakers should be able to concentrate on making one hell of a good job. You’d think


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Getting to know your horror TITLES

November 23rd 2006 00:32
Horror movies generally give the game away with their title; Night of the Living Dead, The Texas Chainsaw Massacre, The Amityville Horror, I Spit on your Grave, The Evil Dead, A Nightmare on Elm Street, Scream, etc. But some are mysterious, ironic or arcane in name, or downright misleading, while others sound like they’re horrors, but are really psychological thrillers, murder mysteries, or dramas with a few bloody spills.

So here’s a tricky list to test just how well you think you know which titles are real horror movies and which are not. There are 13 genuine horror movies included in this list, can you identify them (without cheating), or perhaps you'll just make a stab in the dark


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The Descent

November 21st 2006 23:25
WARNING CONTAINS SPOILERS!

The Descent main movie poster
Anyone who has a pronounced fear of the dark will find this film a little hard to bear. And if you suffer from claustrophobia, well, then it will be just that bit worse. Throw in some nasty cannibalistic humanoid underground dwellers and you’ve got yourself one of the scariest horror movies since The Blair Witch Project (1999


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Land of the long DARK cloud

November 20th 2006 23:36
There aren’t too many horror movies from picturesque New Zealand (my home land). But, we can lay claim to a handful of gutsy originals (and a few not so gutsy).

As most people now know, one of the most successful horror-fantasy directors ever, Peter Jackson, is a Kiwi. I worked on his zombie-fest Braindead (1992, aka Dead Alive), which was both grueling and tremendously exciting. But that’s a post in itself


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The Devil's Rejects

November 20th 2006 02:08
Expectation is a dangerous thing. It can really dampen a movie’s intentions. And in the case of Rob Zombie’s follow-up to his feature debut House of 1000 Corpses, the hype did just that. I didn’t see either movie at the cinemas; both were late night DVD fare.

The Devil's Rejects
I prepared myself for a dog’s breakfast when I got House of 1000 Corpses out. The idea of the lead singer of a pseudo-cult metal band turning his so-called talents to the big screen to indulge in his deep passion for horror movies seemed very tenuous to say the least. But I was somewhat surprised. It wasn’t a great film. It wasn’t even very good. But it was reasonably well made for what it was and possessed a certain, shall we say, chutzpah


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Darkness on the PAGE (part two)

November 17th 2006 03:21
Fiction. Prose. Stories. Tales. Once upon a time …

The most horror fiction I read was during my Stephen King phase which began after purchasing a dog-eared second hand copy of Carrie at Ferret Bookshop in Wellington, NZ, more than twenty years ago. I devoured it ferociously, loving every mock authentic aspect of it (from The Shadow Exploded pg 64, from My Name is Susan Snell pg 45, faxed police and coroner’s reports, etc). It was a brilliantly sustained first novel


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Darkness on the PAGE (part one)

November 16th 2006 10:54
dance of death
In a paradigm shift suggested to me by, rather ironically, Orble’s Romantic Writer, I shall impart my thoughts on an eclectic selection of horror works within the literary world.

Curiously I don’t actually read much horror prose. Back in the day I was a hungry Stephen King fan, but that time seems to have passed. That’s not entirely true. I’m currently reading The Dark Half, which tells the darkly bemusing and shadowy tale of a novelist being terrorized by his professional other half; his more successful pseudonym in fact. Apart from being a story about twins and the uncanny psychic link between them, it’s also about the process of writing


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Horror movies WE'D like to see

November 15th 2006 01:32
In the darkly-tinged, tongue-in-cheek vein of Mad magazine’s Scenes We’d Like To See, here are eight horror movies I’m sure would tickle the perverted fancies of adventurous horror fans and discerning misanthropists alike.

Doctor Beak of Rome
The Devil Flies by Night
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SHAME of the dead

November 13th 2006 23:08
I am the voice of reason, calling to the legions of the living dead: do not listen to the call of Hollywood. Shuffle in the opposite direction. Walk away. Decay in dignity.

Day of the Dead (remake) movie poster
I probably sound like a nutter. Guess I am. But something horrible is happening. There’s something rotten in the heart of Hollywood, and it’s spreading like a damn plague. Ever since horror became all so bloody chic (and so much more self-conscious than it ever was in the past) over the past several years all the cult classics are being plundered. I’m sure other genres have never been violated so ruthlessly


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Choose your NIGHTMARISH FATE

November 12th 2006 23:26
You’re trapped in your own hideous nightmare, caught between a jagged rock and a very hard place. It’s all frightfully grim. But what is this terrifying horror movie situation exactly? Just how completely is your fate sealed? Would you prefer to die a quick and sudden death, or perhaps try your luck at outwitting the menacing presence, the psychopathic killer, the diabolical monster? Maybe you fancy yourself as a Final Girl …?

Here is a short list of definitive horror scenarios


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About 90% of books (fiction, mostly) that are adapted into films are infinitely better than the movie. I’m not here to argue that, although there are exceptions.
Hannibal movie poster

Although a picture may paint a thousand words, the mechanics of prose enable a writer to effortlessly shift between perspectives and structure, which never translates very successfully to film, unless, of course, you’re making an art-house film full of experimentation


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So what's your horror PITCH?

November 8th 2006 20:14
director's chair
Okay, so you wanna be the next David Cronenberg, the next George Romero, the next John Carpenter, huh? You need to start small in order to achieve big, you with me? I’m talking low budget, inventive, attention-grabbing filmmaking here. But it’s gotta work, y’know, pack a few punches, shock a few sensibilities even. But most importantly, it’s gotta get bums on seats, you savvy?

So, here’s the Rub. Hypothetically speaking, of course, I’ll executive produce your horror movie. Firstly, I’ll throw $500,000 into the production and additionally I’ll cover the fees of a couple of name actors (male or female). Condition is they’ve got to have already been in a horror flick. I don’t want no prissy romantic comedians, you understand


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The horror of WAR

November 7th 2006 21:56
We all know war is hell. So which war movies could be rightly justified as being genuine horror movies?

Two films which dealt with the Vietnam War were released in the late 70s; The Deer Hunter (1978) and Apocalypse Now (1979). Both these films had a huge impact on audiences in respect to the visceral power they imparted. They were both character driven dramas that happened to have the war as a back drop. They also portrayed the war with unflinching realism (although the Russian roulette scenes in The Deer Hunter were criticized for being fabricated for dramatic effect


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I’m part of a minority group who thought the remake of Tobe Hooper’s seminal horror show The Texas Chainsaw Massacre (1974) was not half bad. Not excellent either, but there are a sight more God-awful remakes out there at the moment.

The Texas Chainsaw Massacre: The Beginning
The remake must have made enough money for the producers to want to keep on slaughterin’ This time round they’ve enlisted the directorial efforts of Jonathon Liebesman (Darkness Falls, 2003). And he does an okay good job considering the huge obstacle in itself (exposing the origins of a severed-hands-down-bonafide-horror-cult-classic


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The Grudge 2

November 2nd 2006 22:26
I’ll give it to director Takashi Shimizu. He knows a thing or two about nightmare imagery. Ju-on: The Grudge (2003) pulled a few rabbits out of its hat. Not since the original Ringu (1998) had a creeping thin woman with long dark matted hair been so genuinely terrifying. In the case of The Grudge the spectre seemed even scarier as she was able to move more independently than the video/phone bound ghost from Ringu.

This time round the menace has been dampened. What once appeared truly original in its horror now seems almost comical at times. The Scary Movie series has a lot to answer for I’m sure. The Grudge 2 packs a couple of good “Boo!”s, but the story is so flimsy and the acting so mediocre that the film’s intended fury is extinguished early on


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What's the CREEPIEST horror music?

November 1st 2006 22:55
Deep down in the bowels of our horror hearts we know what really gives us the creeps when we’re watching a good horror flick; the soundtrack, the music, the score.

A passionately composed score cleverly cut to the movie can bring a house down. It shouldn’t be too overwhelming though, and a lot of directors and composers swamp a movie with the music, essentially providing overkill


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The HYPE of horror

November 1st 2006 00:13
One of my regular readers, a maiden of the macabre, brought my attention to a horror movie festivalplaying in the United States next month; 8 Films To Die For.

A relatively unknown studio distribution company called After Dark has garnered the movies and over one weekend is playing them in 500 cinemas in 35 cities (November 17 – 19th). You can even enter into a Miss Horrorfest competition where After Dark is looking for the next “Scream Queen” to be the public face for promoting the weekender festival. You can check out some of the committed finalists here
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