Dead Letter OfficeFinallulu

Dead Letter Office 2010
Dead Letter Office

By David Byron
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Dead Letter Office
© 2010 By David Byron
Published in the United States of America by:
NVF Films Productions / http://nvhmag1.webs.com
ISBN: 978-0-557-31589-5
Acknowledgements:
Will Harris and Pauley Perrette interview first appeared in Bullzeye.com, © December 2008;
Stephen Jay photo credits: B/W photo by John C. Lewis; Roger Waters interview © 2008 by
Tommy Vance; Michelle Tomlinson photo by Amy Lyndon; Kimberly Amato picture by Christine
Golden / chrispics.com ; McT & A Christmas picture by Joshua Benton; Bryan Gilles pictures by
Morgan Kennedy Photography; Brooke Lewis red carpet photo by Valerie Macon; Jamie McCall
photo by Arlene Wagstaff; Kreskin photo by Gene Collard; ‗‘Keep Me In Your Heart‘‘ lyrics by
Warren Zevon, © 2002 reprinted by permission; Warren Zevon interview and other articles
reprinted by permission.
All interviews and images used by permission, © 2010 David Byron / all rights reserved.
This book produced in association with NVF Films Productions ©2009 – 2010
http://nvhmag1.webs.com
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Contents:
Interviews:
Will Harris interviews NCIS star Pauley Perrette / 7

Iron Dave interviews The Amazing Kreskin / 18
Tommy Vance interviews former Pink Floyd frontman Roger Waters / 27
Living Dead Girl: Kyra Schon / 40
Michael McCarty author of Liquid Diet: A Vampire Satire / 43
Jack Nicholson impersonator Joe Richie / 49
Weird Al Yankovic alumni and composer/bassist Stephen Jay / 52
The Godfather of Gore: Herschell Gordon Lewis / 56
FX Wizard Tom Savini / 59
Brooke Lewis / Actress, producer, owner of Philly Chick Pictures / 78
Bryan Gilles / star of The Comedy Magic of Bryan Gilles / 82
Harry Waters of The Harry Waters Band / 87
Actor/stuntman Jim O‘Rear / 91
The ‗‘original‘‘ Michael Myers, Mr. Tony Moran / 95
Alice Cooper Tribute band Alice‘s Nightmare / 99
Photos Section
Warren Zevon – Remembering the Man and His Legacy / 112
Growing up in the shadow of Dracula author Bram Stoker; interview with Dacre Stoker coauthor
of Dracula the Un-Dead. / 128
Actress, author, former Naval officer Jamie McCall / 133
FX Wizard Jason Barnett of IMP FX / 137
Roberta Lannes interviews NVF Films founder Iron Dave / 139
Michelle Tomlinson & Kimberly Amato: stars of The Misadventures of McT and A / 145
Horror Garage chief editor Rich ‗‘Pitch‘‘ Black / 149
Zachary Sewlyn of the Lobos Riders / 153
Years Best Fantasy and Horror editor Ellen Datlow / 155
Horror film soundtrack composer Spookhaus / 158
Author Tim Lebbon / 164
Emmy-Award winning film editor Ken Yankee / 167
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Special thanks go to all of the featured guests, without whose participation this book wouldn‘t have
been possible. A big round of applause goes to Ben Ohmart of Bear Manor Media, without whose
confidence in my work and tireless dedication to entertaining us this book wouldn‘t exist. Also big
thanks to Will Harris, Bill Castle, and Tommy Vance. Also a big round of applause for Mr. David
Letterman, whose fondness and heart-felt friendship for Warren Zevon and his music made
Warren‘s last years on earth a lot more enjoyable.
Yes, Mr. Letterman, you may take a bow.
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This book is dedicated to Warren Zevon; the original Werewolf of London.
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Pauley Perrette
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A Chat with Pauley Perrette
By Will Harris
Interview date: 12/10/2008
Run date: 12/16/2008
It has been said of Pauley Perrette, who plays Abby Sciuto on CBS‘s long-running Tuesday night drama, ―NCIS,‖
is that the character of Abby is actually a toned-down version of the real Pauley. Ms. Perrette herself does not believe
this to be true, but it‘s possible she may be a bit too close to the subject to be able to see the resemblance. All I‘m saying
is that I have met her on two separate occasions, and while I offer the caveat that I‘m speaking of network-sponsored
events where you would expect her to be on her best behavior, both encounters nonetheless left me thoroughly convinced
that, at the very least, the smiling, heart-as-big-as-all-outdoors sweetness that you see on the small screen very much
translates from character to actress and back again. As such, it was a pleasure for me to speak with Pauley again, this
time in conjunction with the airing of ―Silent Night,‖ the very Abby-centric Christmas episode of ―NCIS‖ which
will run on Tuesday, Dec. 16th, at 8 PM. Don‘t worry, though: we discussed more than just the holidays.
Pauley Perrette: Hi, Will! How are you?

Bullz-Eye: Hi, Pauley! I‘m good!
PP: Awesome!
BE: Good to talk to you again.
PP: Good to talk to you, too! How‘s your wife?

BE: (Laughs) I was actually just going to tell you that my wife says, ―Hello.‖
PP: Tell her I said, ―Hi!‖

BE: I most certainly will. So I‘ve gotten into the habit of changing my Facebook status to indicate who I‘m
going to be interviewing on a given day, and when I indicated that I‘d be talking to you, I had male and female friends
alike who were jealous of me.
PP: (Laughs) You know, I‘m not on Facebook, but I hear about it a lot!
BE: Well, I watched the Christmas episode, thanks to Katie (the wonderful publicist for ―NCIS‖) hooking
me up…
PP: …and I haven‘t seen it yet! You‘re ahead of the game!

BE: As ever, Abby‘s providing that perspective where you‘re stepping outside of the viewpoint of the
criminologist and saying, ―Hello! You‘re dealing with a human being here!‖
PP: Yeah, Abby and her big ol‘ heart!

BE: How rough is it for you to play those episodes where it feels like Abby‘s the only person at NCIS with a
heart?
PP: (Laughs) Well, I think they all have one, but she‘s just kinda sensitive and…I don‘t know, I think
that‘s a lot like myself. I‘m a bit over-sensitive, too. I‘m just always constantly worrying about how
everyone‘s feeling! Too much so. I‘m making sure no-one‘s feelings ever get hurt and everybody‘s
okay. I think part of that…that‘s a blend of her and me.
BE: You were almost childlike in that scene with you and Santa.
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PP: Oh, the Santa! That‘s right! I forgot about that! And we learned that Abby loves
Christmas! Oh, I‘m so jealous that you‘ve seen it and I haven‘t! I‘m so excited! (Laughs)
BE: At the moment in the episode where you take a picture of yourself and Santa by holding the camera out in front
of you, I immediately had a flashback to last year‘s TCA tour.
PP: Oh, yeah, we were taking pictures!
BE: Absolutely. I went to take your picture, and you said, ―Oh, let me do it! I‘m good at this!‖
PP: I am! I don‘t know if it‘s, like, my arm length or what, but I realized years ago that I have
a really good knack for taking pictures. I can do up to five people!
BE: So was the shot of you and St. Nick that they use in the episode actually one that you took?
PP: Well, it was interesting, because usually when we do those shots, they have…like, that
was a real digital camera, and we were having a blast, actually, looking at the picture each time, and
they were really, really good! And I told them when were there, ―Look, you guys, I‘m really good at
this!‖ Same as I told you! (Laughs) Usually what they do is that we film me shooting something, and
then they have a photographer come in there with a giant Nikon and re-take the pictures. On that
particular scene, I do not know if they actually took that digital card out of my camera, because the
pictures were really good, so…I don‘t know! They might‘ve. Maybe I‘ll get a photo credit!
BE: I would like to believe that they used one of your shots.
PP: I would like to believe so as well. (Laughs)
BE: You and David McCallum have a nice little scene where he‘s discussing the Mallard family Christmas
traditions.
PP: Yes, with his little coin! (Writer‘s note: Ducky reveals how the Mallard family has baked the same
coin into a Christmas pudding every year since the 1800s.)
BE: Do you personally have any Christmas traditions that you make sure to maintain every year?
PP: No, I don‘t. Not at all. I really don‘t…and I have had a love/hate relationship with
Christmas, and I‘ve been extremely anti-Christmas for a really long time. Like, really anti-Christmas.
One of those people. And I‘ve written about it and written scathing things about Christmas and all
that kind of stuff…but, actually, I‘m getting better. But I lost my mother to breast cancer in 2002,
and that was it. After that, I was, like, ―I hate Christmas!‖ She died right before Christmas, and…she
was like Abby. She loved Christmas. Loved it. Everything. All the decorations and the Advent
calendars, everything in the world. Starting at Thanksgiving and leaving the tree up until after New
Year‘s. But when I lost my mom, I was, like, ―Screw this. I‘m not doing this anymore, because it‘s
just too sad.‖ But I‘m getting better.
BE: So was the episode therapeutic, then?

PP: It probably was, actually. Because when I‘m Abby, I‘m completely her, and she has so
much joy about it. She loves it! And that was fun to do, and it was fun to feel.
BE: It‘s funny that you mentioned that you‘re completely Abby when you‘re playing her, because I have read comments
where people suggest that Abby is actually just a toned-down version of Pauley.
PP: I still don‘t think that that‘s true. I really don‘t! (Laughs) But, y‘know, it‘s so weird. I have
a weird job, and at this point, people are just convinced that we‘re the same person, but we‘re not!
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I‘m an actor! I play her! (Laughs) But, y‘know, there‘s no sense in arguing with people. But before,
during, and after playing this character, I‘m going to be playing all kinds of other things that are not
like her at all. It‘s happened to me before. I‘ve played other characters that have nothing to do with
Abby, nothing even like Abby, and people have said after that, ―Oh, you guys are just alike!‖ I‘m,
like, ―Whatever.‖ I think it just kind of happens with every character. ―It‘s just like you!‖ Okay,
whatever. I mean, unless I play a character where I‘m wearing thrift-store flannel pajamas, sitting on
the couch with my dogs, drinking beer and watching television…? I mean, that‘s me. That‘s it. If I‘m
going to play that character, then that would truly be playing myself. (Laughs) Otherwise, not so
much.
BE: You know, I mentioned David McCallum a minute ago, but I was sad to hear that Nina Foch had passed
away. Obviously, I know of her long history as an actress, but I always think fondly of the pair of episodes she did for
―NCIS‖ as Ducky‘s mother.
PP: Yeah, and what‘s really sad for us here…well, anytime we‘ve lost a cast-mate, but what
made it equally sad, as you know from the Christmas episode but also from subsequent episodes
that we have filmed and are filming right now, is that I was just reading a script talking about her
when we got the news. So it‘s very strange. Even when she wasn‘t here on set, she‘s still an active
part of our cast of characters here, so it‘s very tough. It‘s always very hard. We‘ve lost a cast member
before, and it‘s hard.
BE: This is the first season with Rocky Carroll as a full-fledged member of the cast…
PP: Yes, it is! And we love him!
BE: I was just wondering how it was for him to enter the show after having worked with Lauren Holly for so long.
Was it a huge change in dynamic?
PP: I don‘t know. I can only speak personally, but I am very, very close to Lauren. She‘s one
of my dearest friends, and I absolutely adore her. Still. When it comes down to it, for me, the
dynamic only means, like, ―Are they cool or not?‖ And Lauren Holly, she‘s so cool, and I love her
so much. And Rocky Carroll, he‘s awesome. He is a sweetheart. He is a good man. So that‘s what
matters to me. So to have someone awesome like Lauren, when she has to go, at least we get
somebody who I just love to hang out with as well.
BE: On a related note, as far as a change in dynamic, how did things change when Don Bellisario stepped down from
day-to-day running? I‘m not asking if it‘s better or worse; I‘m just wondering if it feels different.
PP: It felt different to me…again, personally…because I was really, really close to Don. I absolutely
love him, and I still love him, and I‘m very good friends with him, so the thing to me is that I miss
him. I miss seeing him. I still miss seeing him. But, then, that‘s kinda funny, too ,because I can just
call him on the phone and go see him. And I do. I still talk to him. I still talk to Don, I still talk to
Lauren, I still talk to Sasha Alexander all the time. It‘s just, like, I kind of miss him being around, but
everything‘s going…the thing is that I think that, often, the unsung heroes in film and television are
the crew. I mean, we‘ve got 300 people here, most of them have been here since Day 1, and they
also worked for Don on other shows. Some people have been together for 20 years. And I believe
that, through a lot of changes that come and go, one thing that has kept us solid and kept us going is
our crew.
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BE: Well, you guys – both crew and cast – are very much a family on-screen as well as on. Or, at least, that‘s the
impression I‘ve gotten.
PP: Yeah, it‘s great. It‘s a really good group. And when you‘re doing this kind of work,
where you‘re together so much and for such long hours…especially for all these guys that play
agents, who are on location, and there‘s all this dirt and water, and you throw somebody in the
ocean, or you run over somebody with a truck in 140-degree weather out in the desert. It helps that
we all like each other. (Laughs)
BE: And when I talked to Michael Weatherly (DiNozzo) this summer, he was telling me about how you and he and
I think his son all went to see The Police and Elvis Costello together. So, clearly, you do stuff together away from the
set as well.
PP: Yeah, and not only us, but one of our directors went as well! (Laughs) To see Elvis
Costello was huge, because that‘s Michael Weatherly‘s hero.
BE: Yes, he was very impressed that I‘d gotten to meet him a few days beforehand, during the TCA tour.
PP: Nice!
BE: Now, I‘m not going to lie to you: when the ―NCIS: Season 5‖ DVD set came out, I was very disappointed
that there was no commentary with you and Michael.
PP: Isn‘t that strange? I was disappointed as well! But the first thing was that it was a bit
crazy because of the writer‘s strike, so we were just scrambling. We have to find a day when we‘re
both not working and can get into the studio and find the time, so it was pretty much…God bless
the guy who actually got our DVD together, as well as every other show, because we were battling
the writer‘s strike and episode length and then getting the DVD out by a certain time when we
weren‘t here and able to do anything. At least we got some stuff on there. At least there‘s something
to watch!
BE: And at least Michael got to do a commentary with his mother.

PP: Yes. Who we love. We love Michael‘s mom.
BE: Last season, you had that great episode where you got to team up with a German shepherd (―Dog Tags‖).
PP: (Wistfully) Ohhhhhhh! I am such an animal fanatic, so that was the greatest thing ever. I was,
like, ―Are you kidding me? I get to go to work and play with a dog all day?‖ It was great!
BE: And how was the dog to work with?

PP: Amazing. Just amazing. And a lot of times when you work with animals, the only thing
that really makes it a good or a bad experience is the trainer, and those trainers were just fantastic.
They were really great. Actually, they really love their dogs, they‘re awesome trainers, and they‘re
very loving towards their animals, which is what matters to me.
BE: Obviously, working with a dog was a treat, but throughout the run of the show, are there other Abby spotlights
that really stand out for you?
PP: (Considers the question) Was it this season or last season…? I loved ―Internal Affairs,‖
because I got to work so much with Joe Spano (Tobias Fornell), who I tell all the time, ―I love you,
I‘m such a huge fan,‖ even though I work with him all the time. Every time I see him, I say that.
―You know I‘m a huge fan!‖ (Laughs) So that was really fun, and I loved all of the Abby / Fornell
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stuff in the interrogation room. That was just super fun. I‘ve actually gone back and watched that,
like, a million times. It was really fun. And…Season 3, that was my favorite season. I really love this
season, too, but in Season 3, there was a lot of stuff that was, like, dealing with the long-ish arc of
Abby having the crazy assistant that ended up in ―Frame Up.‖ Partly one reason I love that is that I
actually am Michael Weatherly‘s biggest fan, and he knows that… (Laughs) …and to see him
work…? He‘s just so good. He‘s so talented. The world hasn‘t even given him enough credit yet.
But…I don‘t know! The ones where I‘m putting on all my crazy get-ups and going places. It‘s funny.
I have such a weird job!
BE: The Halloween episode where you dressed up as Marilyn Monroe (―Witch Hunt‖) was a fun one.
PP: It was, yeah. You know, it‘s funny: people like to dress me up as Marilyn Monroe. I
think that was my fifth time! There‘s something similar about us, I don‘t know what it is, but that‘s
not the first time that I‘ve done that.
BE: Well, you wear blonde well.

PP: Well, I am blonde!
BE: (Laughs) I knew that, I swear!

PP: And I kind of look like my mom when I do that.
BE: That would be a good thing, I‘d think.

PP: Yes. Oh, yeah, my mom‘s beautiful, and she has blonde hair and blue eyes.
BE: Wow. So what do you think about the Season 1 episodes, where the relationship between Abby and Gibbs seems
less father/daughter and more flirtatious? That‘s gotta be a little creepy when you look back at them.
PP: Yeah, but I just think it‘s Abby being playful. Just, like, goofing around. And, also, I
think that things have changed. If you try to go through these people‘s lives as if they have
experienced everything that we‘ve actually watched them experience on TV, Abby‘s had, since the
time we met her, one of her best friends shot through the head, another one blown away with a
shotgun, a detective that she knew was sliced to bits in an elevator. I‘ve kind of tried to maintain a
memory with the character that all of these horrible things have happened around her, and she is
very sensitive. Even her speech patterns and the way she acts, I try to maintain a sensory memory of
the fact that those things…like, she gets a little freaked out, you know? That‘s heavy! If that
happened to somebody in real life, they‘d be hospitalized! (Laughs) I think the main thing with her
relationship with Gibbs is that, with all of these atrocious things happening around her, she‘s
become more worried and even maybe more in need of a protector. Abby herself has been shot at,
held at gunpoint, held at knifepoint… (Laughs) …and all in six years! It‘s crazy!
BE: So, y‘know, we‘ve seen Gibbs‘ father, Ziva‘s father, Ducky‘s mother, and McGee‘s sister. Are we ever going to
see more of Abby‘s family?
PP: I don‘t make up these things; the writers do. But I have all of my own ideas! We know
that Abby has a little brother. We know that. And I keep saying, ―Where‘s her brother?‖ I‘m not
sure, but in my head, I have decided…which means, to the writers, absolutely nothing… (Laughs)
…but I decided awhile ago, and it definitely comes up in the Christmas episode, because I played it
that way…or I certainly hope it comes across that way, or at least there‘s a question mark…as to
whether Abby‘s father is alive. I don‘t think he is. In my head, he‘s not. And that also has a lot to do
with her relationship with Gibbs. Gibbs lost his daughter, Abby lost her dad… (Trails off)
BE: Yeah, I‘ve kind of gotten that impression from the way she‘s acted around him over the years.
(After a few moments of silence, it becomes clear that Pauley is no longer on the other end of the line. Fortunately,
Katie from CBS calls back a few moments later, albeit with no explanation as to what had happened. ―It was so
funny: Pauley was going on and on, and all of sudden, she‘s, like, ‗Was that really deep? Hello…?‘‖)
PP: Where were we?
BE: You had just said that you were convinced that Abby‘s father had died, and…
PP: Right, she lost her father, and I think that that has a lot to do with maybe why there‘s
that father/daughter relationship between Gibbs and her: because he lost his daughter and she lost
her dad. And also, during the Christmas episode, the fact why she was just so emotional and felt
such a kinship to this girl who thought her father was dead. That would be her dream come true: to
somehow have her father come back to life.
BE: Of course.
PP: But I made all that up. (Laughs) I‘ve made all that up in my own head.
BE: But I think you‘re right, though. I think it does come across. I‘ve always gotten the impression that, at the very
least, there was a father/daughter relationship between Abby and Gibbs, and you can read between the lines and
presume that she does not have a relationship with her father, for whatever reason.
PP: Exactly.
BE: You know, when I‘ve done my overall coverage of the TCA tour over the past few years, I‘ve mentioned both
times about how you‘ve struck me as just such a genuine person. You just seem very…real. But I think my favorite
moment was when you were telling us the story behind why you chose the shirt that you wore to the CBS party.
PP: Yeah! Some fans gave that to me! But the interesting side note to that is that, one minute
I‘m at the TCAs with you and your wife and explaining the story behind my shirt, and the next
morning, I wake up and go into the office for a meeting that I had with some of our producers, and
by the time I got there…and keep in mind that these fans live in France!...they had already taken a
screen shot of that picture off of the computer, put it in an E-mail, and sent it to the production
office, saying, ―Thank you!‖ I‘m, like, ―Well, that was speedy!‖ (Laughs) They‘re great, but, wow,
that‘s why you‘ve really got to watch what you do and say!
BE: Well, when I wrote up my TCA experiences, I made sure to get that picture and use it within the piece, just in
case they might not have seen it. Obviously, I needn‘t have worried.
PP: Right on! And, y‘know, some people may or may not get it, but it doesn‘t matter,
because it was for my fans!
BE: Which is awesome, I think.

PP: Abby is very well loved in France.
BE: Not unlike Jerry Lewis. I presume you‘ve seen the CafPow! shirts that you can buy on CafePress.com…?
PP: I have not!
BE: I have my doubts as to whether they‘re licensed or not, but they‘re certainly very, very cool.
PP: Good! I just hope nobody gets in trouble! (Laughs)
BE: As do I. I would also just like to add that, after this season, I would think there‘d be a market for ―Who Stole
My Cupcake?‖ shirts.
PP: I think there should be an Abby doll. Like, an action figure.
BE: Absolutely. Or even an Abby ―Barbie.‖

PP: Oh, boy. (Considers this possibility) Wow. But, you know, it‘s so funny, because she‘s such a
character! Y‘know, on Halloween…every Halloween since Season 1, I see so many people walking
around dressed as Abby! Because it‘s such a fun costume…and it‘s easy! Ponytails, fake tattoo on
your neck, lab coat, big boots, choker collar, wrist bands, done! Every year on the internet, there are
always tons of pictures of people who went as Abby. (Giggles)
BE: So you‘re forever immortalized now.

PP: Well, Abby is. Because, you know, I don‘t dress like that in real life. (Laughs)
BE: I knew that. At least, I know you don‘t sport the tattoo, anyway. I definitely got the impression from that special
feature on the DVD that it‘s a bit of a hassle.
PP: Oh, God. We were trying to count how many times in six years we‘ve put it on, and
there‘s just no telling. It‘s the combination of the tattoo and the choker collar. Because I change
choker collars several times during the day sometimes, and it cools off, and you put it back on again,
and… (Groans) You know, the reason that tattoo is there is because Don wanted Abby to have
tattoos, and I did have tattoos, but he wanted a tattoo that would be visible at all times, which is why
there‘s a giant neck tattoo. So you‘ll always see it…unless I wore a really, really high turtleneck or
something. Or maybe a bag over my head. (Laughs)
BE: I just wanted to get your comments about a couple of other things that you worked on pre-―NCIS.‖
PP: Okay!
BE: First off, ―The Drew Carey Show.‖

PP: Yaaaaaaay! Yes, I played Drew Carey‘s girlfriend for the time when Drew Carey‘s
character wanted to be in a band. So I played his girlfriend, and that was where I met the great and
brilliant Craig Ferguson, who I absolutely adore! He‘s wonderful! And that was interesting, too,
because, of all things, I do this arc on ―Drew Carey,‖ and one of the episodes I did was where Drew
and the other two guys are auditioning guitar players. So I‘m there, on set, and it‘s, like, there‘s all
these people…everybody from Joey Ramone to Lisa Loeb. I mean, literally, I‘m hanging out on the
―Drew Carey‖ set with Joey Ramone! It was pretty crazy. And I‘m a huge music freak, too, so it was
quite a kick! If I had it here…I can‘t run the list of people off right now, but, of course, it was Drew
Carey, and his show was huge back then, so of course everybody said ―yes‖ to that. It was nuts!
(Writer‘s note: She‘s not kidding. The other guitarists who appeared on that episode were Dusty Hill, Jonny Lang,
Dave Mustaine, Rick Nielsen, Slash, Michael Stanley, Matthew Sweet, and Joe Walsh.)
BE: Next up: ―Special Unit 2.‖ My wife actually was a big fan of that show, by the way.
PP: That‘s so funny, because one of my episodes of that show was on my TV set this
morning. It was being re-run. Yeah, we shot that up in Vancouver. Just prior to that, I was touring
in a band, and I was on the Warped Tour, and I had left that and came back here, and then I got
that job and immediately took off and was shooting in Vancouver for a really long time. That was a
really interesting show, and I‘ve thought about that a lot recently, because it was almost like a spoof
of ―The X-Files,‖ kind of like we‘re almost kind of a spoof of gritty crime dramas. It‘s the same kind
of thing. They were like ―The X-Files,‖ except funny. And we‘re the funny crime show. So there‘s
definitely certainly similarities in there. And I was also shooting that in Vancouver during 9/11. That
was heavy.
BE: ―My First Mister.‖ It‘s been a long time since I‘ve seen it. Did you actually have any scenes with Albert Brooks?
PP: I did not. I was in that movie for, like, two seconds. A camera pans past me, I think.
(Laughs) So I barely remember anything about that…except for the director, Christine Lahti. My
memories of that entire experience of shooting that whole entire movie, I don‘t remember anything
about it except that she was so nice! Whenever I see her name, I think about that movie and think,
―Man, she was so nice!‖ She‘s really nice. She was a nice lady.
BE: You appeared at least slightly more in ―Almost Famous.‖
PP: Oooooooh, yeah! Boy, lemme tell ya, that one…―Almost Famous‖ is one of my top 10
movies of all time, having nothing to do with me being in it. Everything I want out of a movie is in
that movie. I love that film. But I also was such a ridiculously huge Cameron Crow fan. Like, ―Say
Anything,‖ I know every line to it, I‘ve seen it a hundred times. So that was just an absolute honor. I
was so honored and humbled and grateful to be a part of, like, anything Cameron Crowe did.
Anything at all. But then when I got there and I walked into the make-up trailer, just for the wig they
were going to put on me, on one side of me is Philip Seymour Hoffman, and on the other side of
me is Frances McDormand. I was, like, ―Are you kidding me? This is nuts!‖ And I just happened to
be a huge fan of those two actors, and I was, like, ―This is crazy! Crazy!‖ I was delighted. I was a fan
of Philip Seymour Hoffman for years before that movie, and I booked the film having now idea I
was going to be playing opposite him. I didn‘t know what I was getting into! It was funny. I got
called in for a meeting at Cameron Crowe‘s office and met with him just briefly, and the character
was originally a male, but I met Cameron, and he turned it into a female and put me in there. It was
amazing!
BE: Before I got into writing TV, I was 100% music journalism, and he was just my hero. I mean, he got into
writing when he was in his teens…
PP: Totally!
BE: …and then he goes and marries a hot female rock star! I mean, if you‘re a music journalist, how do you beat
that? (Laughs)
PP: Absolutely! And for me…not just as a fan of his, but as a music fan, growing up, I saw
Heart in Atlanta when I was young, and when Nancy Wilson walked onto that stage with her guitar
and started playing, I was literally just… (Pretends that she can‘t breathe) I couldn‘t believe my eyes. I
couldn‘t believe them. And then later on, as an adult, I‘ve met her several times because I‘ve been
around both of them, but…they‘re a pretty amazing couple. Every now and then, even with my
fandom of Cameron Crowe, I feel like tugging on his sleeve and whispering in his ear, ―Do you
know you‘re married to Nancy Wilson?‖ I mean, Nancy Wilson! Come on, she‘s amazing!
BE: I would like to think that he wakes up every morning and still can‘t believe it.
PP: Yeah, he must. How could you not? Totally.
BE: And the last project I wanted to ask you about was working on ―Dawson‘s Creek.‖
PP: You know what? I have no memory of that. I don‘t. It‘s absolutely fine to say why, and
I‘m going to tell you the God‘s honest truth: my mother was very sick then. She had cancer, and my
folks were in Alabama, and I was out here in L.A., and during the length of my mother‘s illness, I
couldn‘t take a series regular part on anything because we didn‘t know what was going to happen,
and I needed to be available to leave at any time. So I was just trying to pick up guest parts to pay
my bills, and I had to turn down a few series regular roles for that reason. And that actually shot in
North Carolina, and it was closer to my mom than L.A. was. And I remember that I‘d go out there,
and the way the schedule was set up was that I shot some, and then I was going to be there for a
week and a half before I shot something else, so I shot my scene and went to be with my mom, and
then I drove back. It was kind of a crazy time. I don‘t even remember being here. I don‘t. The whole
thing is such a blur. (Sighs) It was a crazy time.
BE: Oh, I meant to ask how what kind of response you got from appearing on ―America‘s Most Wanted.‖ Did
you hear back from fans saying, ―That was weird‖?
PP: You know, that‘s such a passion of mine, and I just had such high hopes that, God,
y‘know, if this works, it‘ll be so great. I just believe in ―America‘s Most Wanted‖ so much. I feel like if
everybody watched that show and got these people off the streets, there‘d be less residual crime,
and…well, whatever. I was scared. I don‘t like appearing as me, y‘know? If I don‘t have a script in
my hand… (Trails off) I had just posted the reward. It was their idea to actually put me on the show,
and I was, like, ―Uhhhhhhh…‖ And then I thought, ―You know what? It doesn‘t matter how I feel.
If it helps, do it. If there‘s a chance that this will help, do it. Whatever it takes.‖ So my moment of
nervousness gave way to, ―Being selfless is more important than being nervous.‖ And that was
tough, too. That was a tough schedule. We were in different states, flying around, driving around,
going all over the place. We had a very short amount time. Our schedules were crazy; it wasn‘t an
easy thing to do. Unfortunately, the two murders are still unsolved, but, God, I did my best, and I‘ll
do it again! To at least try.
BE: And the last question: how bizarre is it that you‘re in your sixth year of ―NCIS‖ and, yet, the show actually
still seems to be growing in popularity?
PP: You know, it‘s not weird to us. It‘s funny, but I think it‘s weirder to everybody else. It‘s
not so weird to us because we knew very early on. We‘re, like, ―You know what? This rules. This is
fun, and this is great.‖ And it‘s such a different kind of show that, slowly, people started picking up
on it, and once you start watching it, you‘re hooked. And people just keep meandering on in!
(Laughs)
BE: And I‘d agree with that. I didn‘t discover it until the second season came out on DVD, but I‘ve been hooked
ever since. I‘ve had people who‘ve written me and thanked me for doing DVD reviews, saying, ―Oh, my God, thank
you so much, because this show flies so under the radar, and I‘m so glad you‘re giving it love on your site!‖\
PP: Well, I will thank you, too, then! (Laughs) And, you know, also, when the USA Network
and Ion started running just, like, massive marathons of ―NCIS‖ on random days and weekends and
everything else, that pulled in a whole other, giant new group. That was a big thing as well. It was
people who, for some reason, hadn‘t been watching on Tuesday nights at 8 PM for the last six years.
But they picked it up over there, and they‘re, like, ―What is this?‖ And they got hooked, and now
they do watch on Tuesday nights at 8 PM.
BE: Six years in, is there anything you‘d still like to see Abby do as a character that she hasn‘t done yet? I know, you
have no control over it.
PP: (Emphatically) I have no control over it. (Laughs) I don‘t know! I guess you‘ll just have to
wait and see! But I keep telling them that I want to meet her brother, so that‘s something!
BE: Well, it‘s been great to talk to you again…and if there‘s a CBS function in January, I‘m theoretically going to be
there for the TCA Press Tour. Provided, of course, that there isn‘t an SGA strike.
PP: (Groans) God, what a mess. I know. Well, I just want you to know that everybody is as
on edge as you are. There‘s no plans, there‘s no nothing. Everything‘s just up in the air until we
figure out something. But if not, then I‘ll see you the next time!
Will Harris and Pauley
The Amazing Kreskin
For over four decades, The Amazing Kreskin has dramatized the unusual power of the human mind with a rare
combination of wit and showmanship. His very name has become an integral part of pop culture invoked in comedy
clubs, comic strips, print stories and TV shows from sitcoms to national magazines. Kreskin, who has performed for the
likes of royalty and presidential families, has also made well over 500 television appearances in addition to those as host
of his own highly rated series and specials. Ever-earning his status as ―the world‘s foremost mentalist,‖ Kreskin offers
$50,000 to anyone who can prove he employs paid assistants or confederates during any of his performances. On stage
and television, Kreskin seeks to reveal the thoughts of audience members, plant suggestions in fully aware subjects and
dazzle with feats of extraordinary mental projections. As one of the highlights of his stage show, he regularly asks to
have his check hidden anywhere in the premises. If he fails to find it, he will forfeit his fee. Kreskin dismisses any
association with the occult and labels like psychic and medium. ―I am not a mind reader, because that implies I can
totally penetrate the process of the human brain,‖ he explains. ―On many occasions I can perceive a single thought or a
series of simple thoughts if the subjects are tuned to me and willing to open their imaginations to receive or project. I am
totally helpless if they refuse.‖ Kreskin maintains that this silent communication is within the capability of many people,
once trained and self-sensitized. ―Basically, I apply the power of positive thinking which may be mankind‘s ultimate
tool.‖ Kreskin‘s name and face have gained a household recognition from over 500 appearances on national television
including 118 ―Mike Douglas Shows,‖ 98 ―Merv Griffin Shows" and a record 88 ―Tonight Shows.‖ Legend has it
that Johnny Carson, who saw Kreskin trip and fall during his first appearance on ―The Steve Allen Show,‖ modeled
his own clumsy-yet adept Carnac the Magnificent after the mentalist. In addition, Kreskin‘s recent guest spots include
the Late Show with David Letterman, MTV, Live with Regis and Kathie Lee, The Howard Stern Show, Larry
King Live and CNN Morning News. Kreskin astonished viewers of ―Lifestyles of the Rich and Famous‖ by finding
Robin Leach hidden somewhere in New York City. In 1997, Kreskin amazed not only the Academy of Motion
Pictures Arts and Sciences, but also the entire world, when he successfully predicted the top 9 categories of the academy
awards the day before on CNN Morning News.
In 1977, the legendary magazine, Famous Monsters of Filmland, devoted two lengthy cover stories to Kreskin's
analysis of the use of hypnotism in movies. This past year Stephen King re-wrote his classic novel for television, The
Shining, where he renamed the boy as ―Little Kreskin.‖ Kreskin especially enjoys working Halloween. In 1997,
Kreskin conducted a seance on The Howard Stern Show. The appearance (lasting over 2 hours) included flying tables
and over 30 completely bewildered fans who participated in-studio. Howard Stern summed it up best when he said,
―This is the most amazing thing I've ever seen!‖ The mentalist has dazzled millions of international viewers each week
for years with his television series ―The Amazing World of Kreskin‖ and starring in ―Kreskin's Quest,‖ a series of
internationally syndicated specials. In 1997, Kreskin brought Sprint‘s latest campaign to millions of consumers as the
spokesperson for the ―Amazing Dime Find.‖ This promotion took place throughout the United States and garnered
media appearances the world beginning with an appearance on NBC‘s Today Show. Kreskin has appeared in several
commercials this past year for Wendy‘s Restaurants. He also headlined the premier promotion of the Burnet Swiss
Watch Company.
Kreskin, who has always enjoyed the challenge of a casino, (those of which he is allowed to enter) made two incredible
appearances in Atlantic City in the summer of ‗97. First, he appeared in front of Trump Plaza on the hottest day of
the summer and caused crowds to shiver, shake and run for blankets. Kreskin proved that your ―Mind Could Beat the
Heat‖ and The Philadelphia Inquirer was on hand to document that participants‘ hands were cold and shaking. Later
in the fall, Kreskin broke his own personal record by winning 21 straight hands of blackjack at Resorts Casino. The
casino spodesperson said, ―It‘s one thing for casinos to deal with card counters, but handling Kreskin is something else.
There's not much we can do about ESP, if you got it, you got it.‖ Kreskin‘s unparalleled contribution to the study of
parapsychology has made him the subject of articles in numerous scientific journals and magazines, along with earning
him an honorary Doctorate of Letters from Seton Hall University, where he majored in psychology. Among thousands
of volumes in his personal library on the subject of parapsychology (reportedly the largest private collection in the world)
are eight books by Kreskin himself. Kreskin‘s books include The Amazing World of Kreskin (Random House),
Kreskin‘s Mind Power Book (McGraw-Hill), Fun Ways to Mind Expansion (Doubleday), Secrets of
the Amazing Kreskin (Prometheus), How to Be a Fake Kreskin (St. Martin's Press) and Kreskin‘s
Secrets, a privately published mail-order tome which has sold nearly 500,000 copies. Kreskin credits the childhood
influences of Mandrake the Magician comic books, radio/television pioneer Arthur Godfrey and magnetic televangelist
Bishop Sheen for the direction of his career. Born in Montclair, New Jersey, Kreskin was fully fascinated with magic by
age five, after which he began to perform for the neighborhood children. To this day, Kreskin often warms up an
audience with a deft display of sleight-of-hand as a preparation for the thought reading to come. He enjoys defying the eye
and admits, ―The ESP factor needs a solid mental foundation to be successful. Once the audience members become
mystified, they are more susceptible to suggestion.‖
The roots of Kreskin‘s abilities can be traced to a simple childhood game. While trying to find a hidden object based on
the verbal hints of ―hot‖ and ―cold‖, he discovered he could locate the object without the verbal communication if the
person who hid it concentrated on its location. From this and other exercises, Kreskin gradually developed a telepathic-
like sensitivity. At age eleven, he developed an uncanny determination beyond his years when he received permission to
study the entire psychology section of his local library. Soon Kreskin began to perform professionally, billed as ―The
World‘s Youngest Hypnotist.‖ From his early experiments, Kreskin developed a theory into his special talent: ―In most
cases the phenomenon of thought transference can be explained as a kind of hyper-aesthesia — an almost unconscious
raising of the threshold of one's senses to a degree far exceeding one's everyday feelings.‖ With a hectic schedule of ever
300 appearances a year worldwide, Kreskin is constantly challenging the impossible with amazing results. The Sally
Jessy Raphael Thanksgiving Day Show this past year featured Kreskin discussing ―How to Pick Lottery Numbers.‖
His performance offered amazing discussions over Thanksgiving dinner throughout the world. Music has also served as
an effective medium for the mentalist who made his professional debut as a pianist at Carnegie Hall with Skitch
Henderson and the New York City Pops, subsequently soloing as a guest artist with the symphonies throughout the
U.S. and Canada. During one performance with the Hamilton Philharmonic in Ontario, thirty people slumped over in
their chairs onstage as Kreskin played Brahms‘ ―Lullaby‖. At a seance in Nashville, Kreskin played ―Love Me
Tender‖ on the piano as he summoned the spirit of Elvis Presley — through Kreskin‘s extraordinary powers of
suggestion, bystanders suddenly began to drop to their knees! Kreskin has also used his unique gifts to make a positive
social contribution. His highly developed skills have led to the discovery of crucial evidence in several major criminal
investigations. He has also devoted a great deal of time in and out of the nation‘s courtrooms questioning the validity of
testimony given by hypnotized witnesses and the reliability of hypnosis in general. Kreskin even appeared on the
television series ―Missing Reward‖ to offer $100,000 to any hypnotist, psychologist or psychiatrist who could prove the
very existence of a ―hypnotic trance‖ under scientic conditions. To date, no one has collected on this challenge.
***
Iron Dave Interview

With
The Amazing Kreskin
Greetings and salutations, kind sir. It is a pleasure to have you with us. How was your Thanksgiving?
Thank you for asking, Dave. My Thanksgiving was a very pleasing one with close members
of my family. I hope yours went well.
Thank you for your kind wishes as well. I see you were born in New Jersey. Was that a good venue for someone of
your talents?
Certainly NJ worked for me as a kid, although I happen to believe that my career would have
evolved no matter where I was born, since I really envisioned my entering the field in which I am in
by 4 or 5 years old. I was given a comic book by one of my visiting relatives in Bethlehem, PA, the
Polish side of my family. My Sicilian side lived in NJ, and I was born in Montclair, NJ. While
visiting, one of my earliest first memories was of a fellow, probably a teenager, giving me a comic
book, and one of the cartoon stories in the comic was Mandrake the Magician. He really wasn‘t a
magician in the traditional sense of stage illusions and sleight of hand. He had hypnotic and
telepathic abilities and used them to solve crimes. I was immediately enchanted with this character,
and since I was taught to read by the time I was 4 ½ - 5 years old, my mother often supporting and
reading to me from comic books, I knew this would be my model.
I've always been curious as to the exact meaning of the term ''mentalist.'' Since the premiere of the TV series of the
same name, the interest in the term has become wide-spread, to say the least. What would your definition of the term
be?
Regarding the meaning of the term ―mentalist‖, it‘s interesting because Dr. Margaret Mead
never wanted me to call myself a mentalist, she wanted me to call myself a ―sensitive‖, but I used to
say to her, this great anthropologist, most people would not know what that meant, a term that goes
back to the 18-19th century, individuals in the old world who showed unique mental abilities were
often called sensitives, rather than psychics or what have you. In my work, I do not claim
supernatural powers, but I do claim to be able to tune in and perceive the thoughts of individuals
and influence their thoughts and behavior. The term mentalist as an entertainment term captures it.
It defines for me my abililty to embrace the thoughts of those who are concentrating and also to
dramatically influence their thoughts, usually mentally or by the power of suggestion.
The series The Mentalist is a refreshing take on crime solving stories, but of course in that series the
character is shown to have been a fake psychic, mentalist, what have you, and now finding a new life
and assisting crime investigation is really observing details around him, clay on people‘s feet, material
under people‘s fingernails, objects lying around the room that could have referred to the murder. In
truth, the series The Mentalist is a throw-back to the greatest fictional crime solver of all, who also
had very little violence in the story, but who has charmed and captured people from all walks of life,
including Presidents and statesmen, and that, of course, is Sherlock Holmes. So the new series The
Mentalist is really a modern-times Sherlock Holmes story, which I think is extremely well done, but
really does not refer to my work.
I understand that your powers were evident even as a child. At what age did your unique capabilities of finding hidden
objects begin?
Early in my childhood in NJ, I practiced games with friends. When I was in third grade and
was 9 ½ years old or so, I was in a class during which time we were to have outdoor play sessions.
However, it was raining, and instead our teacher played a game which then was called Huckle Buckle
Beanstalk. A person would leave the classroom, and while out of the room, we hid a beanbag, as I
recall it was hidden in someone‘s desk, and Jane Hamilton, who was the first person to be picked,
came in the room and walked around, and we talked around saying you‘re getting warmer, you‘re
getting colder, depending on how close she came to finding the bean bag. The game is generally
known as Hot and Cold. I was infused with intrigue about the game. I wished I had been picked to
play it, but I was not once invited to leave the class while the beanbag was hidden. So while I was
walking home from school, which was about a mile, I was imbued with playing this game. I met my
brother at home, who was 3 years younger, and we walked over to my grandparents‘ house, who
lived about 10 minutes away. It was an old 2-story house built by my grandfather who was a
construction worker. He built it with friends, and it still exists today. I invited my brother to go
upstairs and hide the penny. My grandparents rented the downstairs in order to make ends meet.
He called me, and I went up the wooden steps, walked into the old fashioned kitchen with a giant
pot- belly stove. My grandmother was sitting at the kitchen table curious about what was going on.
My grandparents did not speak English, but I was very close to them. I meandered into my uncle‘s
bedroom, he was at work, climbed up an old, as I can recall, dark maroon chair, and since I was
short, found myself reaching behind a curtain rod on which curtains were hanging, and I felt the
penny. I found it, and it suddenly dawned on me that I never told my brother to speak to me. I
never told him to talk to me. There was no verbal communication at all. My grandmother, being
Italian, probably thought this was the evil eye.
My family became fascinated with this ability, and I started performing at private parties. In 4th and
6th grade, on Friday‘s for show and tell, my teacher for both years, Miss Galloway, would often have
me perform for my fellow students, attempting to read their thoughts. I was already doing private
performances for children‘s parties, but that was as a magician, doing sleight of hand magic and
what have you. By the time I was in the 9th grade, I was beginning to use my abilities with the mind,
and was already for 2 years performing as a hypnotist. Indeed, I did a 2 hour concert in the 9th grade
to raise funds for the school.
Incidentally, regarding the comic book Mandrake, a few years ago Lee Falk, who was the author, and
is now no longer with us, was invited to a special gathering at Sardi‘s Restaurant in New York. It
was hosted by a large group of university professors and writers, all of whom had researched and
were highly knowledgeable in the areas of comics. They were saluting Lee Falk. He had created 2
major comics in his life, Mandrake and The Phantom, both which were tremendously successful even
overseas, in Australia and in Italy in the second World War. Mandrake was a tremendously popular
comic but Mussolini would not allow the English verbiage, so he had someone in Italy do the
writing for the dialogue of the comic, namely the great director Fellini. At that gathering at Sardi‘s,
yours truly was invited to attend, since it had become known that the comic inspired my
imagination, and inspired me with drive and ambition. It was one of the great moments of my life
when Lee Falk was discussing the evolution of his comic, and then parenthetically said in all the
years he‘d written it, the person who came closest in actuality, in real life, to the character of
Mandrake was…and he turned and nodded to yours truly. Certainly one of the most priceless
moments of my life.
The telepathic-like ability increased more and more through the years, but it was the wonderful
support of teachers in grade school, junior high, and high school encouraging me that certainly
supported and gave confidence in my work. I‘m fortunate, I‘ve often said, that I embraced this area
in my early life, because by doing so, no one had a chance to teach me that these things couldn‘t be
done. So it started as magic tricks, and then became mind-reading tricks, evolved into an art form
today that has carried me all over the world. Indeed, as of February of this year, the airline industry
estimates I have flown over 3 million miles. Last year I did 198 appearances around the world. Just
the past few weeks touring Canada, each performance lasted approximately 2 hours and 30 minutes.
You have also been recognized as ''the world's youngest hypnotist.'' What happened, exactly, that earned you this
moniker?
Needless to say, in the evolution of my career, I cannot minimize but instead must
accentuate the tremendous early support of people like Steve Allen, who first gave me national
attention. In the years I spent with the Mike Douglas Show, having done approximately 118 shows
with Mike, and of course I could not ignore the appearances with Johnny Carson, some 88
appearances, which some say is a record for personal appearances. Indeed, it was Carson who saw
my first national appearance on Steve Allen, for he had been looking in. When I walked out the
lights in the 1960‘s were extremely bright. I turned and walked towards Steve Allen, who was rather
tall, about 6‘4 in height, and of course he was standing by his desk which was elevated, as all the
desks have been since from Carson to Letterman. I was going over to shake hands with him and I
tripped over the desk and fell flat on my face. Carson saw that incident and as a result created
Carnac, who when he walked out fell over the desk. One of the last shows I did with Johnny, I
thanked him for perpetuating my name and imaging even when I wasn‘t on the show, and he
interrupted and said, ―Oh, you mean the mighty Carnac!‖ Television continued to be important to
me. Through the years I have done so far 109 shows with Regis, going all the way back to the days
of Joey Bishop when Regis was an announcer for the show and Joey Bishop was so fascinated with
my work that in the latter years of his show, he made me a regular, often having me on for one week
at a time.
I heard an interesting little story about you requesting that your appearance fee be hidden somewhere within the venue,
with the understanding that if you could not find it, you would forfeit your fee. Did you ever lose a fee? { No offense
intended, of course}.
In your inquiry about my fee being hidden, one of the features of my performances in
almost all my shows is that my fee, my check for the evening, is turned over to a committee from
the audience. Part of that committee escorts me from the theatre, or the nightclub, or the banquet
hall, or the private home, as my audiences have varied extensively from 12 people at a private home
to banquets of hundreds of people or a few thousand, to state fairs such as Oregon State, numbering
some 20,000. But at all of these performances, my check is hidden, while I am taken to an area
where I cannot see or hear what is going on. When I return, there is no communication verbally
with any of the committee, which usually numbers 4 or 5 people. The committee is simply
admonished to concentrate and focus their attention on where it has been hidden. If I do not find
my fee, I do not get paid. Some people ask if I have ever failed. I have 9 times, which some would
say is not many out of 6,000. It may not be many, but on my first trip to New Zealand at one event,
a coliseum, I failed, and a press conference was held the next day. In fact, the money was turned
over to a crippled children‘s hospital, and a wing has since been named after me. The night before I
had lost a little over $51,000.
On the plus side, I have found my check in some of the most outrageous locations. At a university
gymnasium, some 2,000 - 3,000 students, I ended up pulling a gentleman in a suit to the stage,
opened his jacket and found a revolver, and in spite of the insanity of what I‘m about to say, turned
the barrel of the gun towards me and looked down into the barrel. They had taken tweezers and
stuffed the check in the barrel of the gun. At the University of Illinois, amongst 8,000 students and
family, I found my way to a gentleman in the audience and had him stand. I asked him to open his
mouth. There was no check. I asked if it had to do with the roof of his mouth, and he reached in,
took out his upper plates, and handed me the check. Recently at a private affair in Princeton, NJ,
when I returned to the house and walked through the living room where there were some 40 or so
people, I ended up in the kitchen, pulling out some of the china, where the check had been quietly
placed behind a dish. Certainly one of the singular incidents of my life was when I walked back into
a banquet hall in New York City and some 1500 writers, TV, and radio people suspensefully silently
watched. It was a dinner at the Waldorf in honor of Bob Hope, who was sitting on the dais with
Walter Cronkite and a few others next to him. As I meandered through the audience, I ended up on
the dais. After lifting a dish half a dozen times, which had turkey on it, I was in frustration. Why
would I lift the dish when there was no check under the plate, until I realized that somebody was
concentrating on a certain action. I took my tuxedo jacket off, and shoved my hand into the
stuffing. They had cooked it into the stuffing of the turkey!
As of a few weeks ago during a tour in Canada, one night I ended up in the Orchestra Pit area on
my knees, and I was absolutely frustrated to the point of being annoyed. There was no place to hide
it. I was kneeling on a flat floor. There wasn‘t even a carpet that I could lift up. I will never forget
that something possessed me to pull on tape, yards upon yards of black tape had covered the floor
in place of carpeting, and although I thought this was an extraordinarily damaging thing to do, I
thought I could cause the tape to give if I pulled a slight corner and pulled upward. When I did, the
check was one foot into the area of taping, and I pulled out the check.
The career of yours truly has been like an adventure, even though I did not dream that Tom Hanks,
until he came to me with the script, would release a movie in March of 2009 called The Great Buck
Howard, and as all the press conferences, interviews, and television discussions have reported the
movie climaxes with remarks beautifully made before the credits appear. The character star of the
movie, Buck Howard, is based on the work of yours truly. In fact John Malkovich, who plays me,
studied videos of yours truly for days. The key theme of the movie is my check test, and all over the
world people recognize it as part of my career, but even though in the movie it is suggested that
electronic devices and stooges may be used by the character, at the end of the movie it is made clear
that yours truly has never, ever, ever been shown to use electronic devices or employ secret paid
assistants in any phase of his work.
With the release of the movie, yours truly released a book which he wrote in 2 ½ weeks in order to
time it with the movie itself. The title of the book is Kreskin Confidential, and yours truly reiterates
how for years he has offered $50,000 to anyone who can prove he employs paid secret assistants or
confederates in any phase of his work. With the release of that movie, that has been dropped. I no
longer offer that sum of money…
Instead, I will to my last day on earth offer to anyone who can prove that I employ paid secret
assistants or confederates or any hidden electronic devices in order to accomplish my mental test the
sum of 1 million dollars.
You have helped law enforcement and security personnel as well. Did your services involve helping to solve cold-case
crimes?
Regarding my involvement with law enforcement cases, I‘ve never done this to seek
publicity, and I‘m not suggesting that I‘m solving the case, by no means. I‘m not solving the case,
but helping investigators to gain information, sometimes in the case of potential witnesses who are
not aware that they were picking up information, perhaps on an unconscious level, that could be
pertinent to the crime. In a case in Reno, Nevada some years ago, a tragic one in which a girl leaving
college was kidnapped and murdered, was without any clues for a sustained amount of time.
Through the press, 3 individuals who were driving by when she was met at her car outside the
university, volunteered to participate in some experiments with me, although they could not be
certain they saw anything, but they had stopped at a long traffic light which seemed like it was
around the time of the kidnapping. The bottom line is, seeing each of them separately with a court
artist present, to cause 2 of them to develop in their mind a detailed image of what could be a
suspect. Each of the 2 seemed to contribute and add to the other‘s image. That drawing was in the
local newspapers for a number of days. Interestingly enough some time later, an individual was
apprehended in Los Angeles, a suspect on another murder, and it turns out he fit the description
and was the culprit of this crime.
In the past couple of years I‘ve held seminars for law enforcement groups, training and teaching
them how to use their own intuition as an aid in investigating crimes. No, I could not teach them to
read thoughts. I would be misrepresenting myself and it would not work, as this has been a lifetime
evolution. But I feel successful in borrowing what I‘ve done privately through the years with
business individuals, and that is training them to gain a second opinion, that is their unconscious
mind, on details of a problem or a case that seems to have bogged them down.
Do you have any amusing anecdotes from your career to share with us?
When the Buck Howard movie was released, Cindy Adams, the famous New York
columnist with the New York Post devoted a column on which she expounded on my abilities and
said if anyone thinks this is a gimmick, she became a conduit in a dramatic test years ago. It was
when the TV series Lifestyles of the Rich and Famous was on the air. After Robin Leach and his
people had come to my home, I offered them another segment to the show which they found
absolutely intriguing and went through with it. Robin Leach said if it failed, they would leave the
test out, but I said no, it would remain in. I‘ve kept the integrity of what I do on stage and
otherwise clear to the public, and if something fails, they should see it. It‘s not a magic act. The
bottom line is, I was driven to Tavern on the Green in New York where a number of police cars had
gathered, and I was escorted to a limousine, in which Cindy Adams sat. We were never to speak to
each other. I was only to speak to the driver, and tell him where to turn as he drove the car. The
challenge was simply I had to find Robin Leach, who was hidden somewhere in the city of New
York. It was a bizarre experience. The police later on told me I was driving them crazy. They
didn‘t know where Robin Leach was, but they had to follow me, and there were times I was taking
them down one-way streets the wrong way. I finally exited the car with Cindy Adams following me,
entered a building, and found my way in an elevator to the top floor. It was a private swim club. I
kept standing looking at this large Olympic size swimming pool. Cindy Adams later on told me she
didn‘t know what to do. The camera people kept photographing me throughout the procedure, and
couldn‘t say anything. Finally, after 5 minutes of staring at the pool, I saw a door at the other end of
the pool room and went to that, opened it, and there was a bar, which was not opened yet, it was
too early in the morning. People were cleaning glasses. I saw someone leaning across the bar,
looking like he was intoxicated, face down on the bar. I went over and touched him on the
shoulder, and said I think this is as far as I go. He lifted his head up and said to me, let‘s get out the
champagne, you found me, it took you 32 minutes. Incidentally, Cindy Adams brought up the fact
that I was standing looking at the swimming pool for about 5 minutes. He bolted out of his chair
and said, my God, when the crew radioed me and let me know that Kreskin was beginning his
search, I thought it would be interesting for him to find me in the pool. I was swimming there for
about 20 minutes, then finally I got waterlogged, dried off and got dressed, and here I can vividly
remember staring at the pool as if I was supposed to see him in the pool.
Some years ago when the 50th anniversary of Orson Welles CBS radio broadcast that terrorized part
of the nation was coming about, the state of New Jersey approached me and asked if there was
something I could contribute in order to celebrate this incident, and I jumped at the opportunity,
because I had met Orson Welles and was a tremendous fan of his, and told him that someday I
would do this. As we sat in a restaurant in London, he looked at me and said Kreskin, let‘s take my
War of the Worlds radio show one step beyond. We gathered in the city in the location in New
Jersey where in the radio version UFO‘s were supposed to have landed. That area was picked by
one of the writers, getting gas one day driving into the city asked for a map. In those days all the gas
stations gave out maps. He pulled out the map of New Jersey, closed his eyes, dropped his finger
down, and the location he hit was the location used in the Orson Welles version. You must
remember, it was broadcast like a radio news broadcast, and as a result caused thousands upon
thousands to panic. When I appeared on a make-shift platform in the middle of nowhere with a
grassy knoll around us, there were thousands of people, press, and what have you, and I invited a
number of people to come up onstage, some 18 or so volunteers, all ages, teens all the way up to
people in their 60‘s and 70‘s. I asked them if they‘d ever seen a UFO. One or two raised their
hands. A couple were uncertain, but most said no. I asked them if they believed in UFO‘s, and
there was generally a weak belief, but no strong conviction except for one or two. I held a
handkerchief in my hand, just as was done through the years when there was a firing squad….when
the handkerchief was dropped, the guns were fired. The handkerchief was highly symbolic. As I
talked to the committee on stage standing three, I dropped the handkerchief. Within a few minutes,
a tremendous emotional wave went across the stage. Most of the people on stage started to ―see‖
UFO‘s in the sky. They started to argue. Some saw them green, some saw them red. It was clear
that the crowd standing around the stage, hundreds of people, knee-deep some of them, that these
people were excited about seeing something very graphic. You could see fear on some of their
faces. Others were screaming, ―Look, look‖. And then I pointed to the ground and said, ―Doesn‘t
it look like some of the UFO‘s are landing?‖ At that moment, subjects on stage had to crouch
behind each other, because I suggested a door was opening on one of the UFO‘s, and some being
was leaving. Within a few seconds, the attention of everyone turned to an elderly woman on stage,
as she quietly walked off the stage and started to walk towards someone. Within seconds, I ran
down, broke the spell in their minds that had created this hallucination, but it was clear that she was
literally about to grab a gun from the holster of a policeman and fire point blank at this UFO figure
that she ―saw‖ coming towards her.
Have you ever met any other famous ''mentalists'' in person?

This answer is very simple…No.
You've been dubbed the ''Nostradamus'' of the twentieth century. Do you feel that this moniker is befitting of your
powers? Hold it in high regard?
I can understand because the word ―Nostradamus‖ has dealt with long-range prophecies,
what have you, but I don‘t really consider myself a prophet. The bottom line is, while I can read
thoughts, I do not look into a crystal ball. Some years ago CNN television came to me and said
we‘ve had psychics and astrologers on New Year‘s Day, why don‘t you make some predictions and I
pointed out to them that I really don‘t make predictions. But they reminded me of something. At
that time I had flown probably some 2 million miles. They said to me, Kreskin, you travel endlessly
around the world dealing with how people are thinking. You must have some intuitive facts, and I
began to reflect that a weatherman predicts the future by looking at present conditions that could
project into the future, and I decided to tap into my unconscious intuitiveness, and that was the
beginning of what has garnished me coverage all over the world. I predicted twice winners of the
Academy Awards, and in one case it was only 2 hours before the awards were announced that I
predicted the top 10 or 12. The following year I predicted the top 8. It was in 2001 on CNN that I
had introduced a book called Kreskin and Friends, in which I went to 60 famous people and asked
them to predict the future of their field, Regis in talk-show television, Seinfeld in comedy, Roger
Ailes in television news, judges, etc. While this was being discussed on CNN New Year‘s morning,
the anchorwoman said in the last 2 pages Kreskin has announced his predictions. That was January
1, 2001. She opened it and the first prediction dealt with war. I said while the public does not
realize that we are at war, it is a war of terrorism, and could someday develop into biological warfare,
and suddenly I interrupted and said I don‘t know why I‘m saying this, but in September of this year
there could be a disaster here in New York involving 2 airlines. Needless to say after 911, I was
questioned by scores of authorities as to ―what made me make such a statement‖. I had toured the
Middle East for 5 years, Saudi Arabia, etc., and again as we‘ve been warned through decades and
decades is that the only thing we ever learn from history is that we never learn from history. I feel
the handwriting is on the wall.
A few years ago in Canada in 2005 there was a liberal already in office who was running again for
Prime Minister. One month before the election, I made my prediction, but not wanting to get into
politics during the run, I insisted it be sealed, and it was placed in a safe on the evening news of the
CTV Network where people saw it every night when the news was introduced and the news anchor
referred to the safe as the Kreskin safe. I was flown in the night of the election to observe the
results, and the next morning the safe was opened on AM Canada, a national show. I predicted that
the liberal would win, but would not have a strong support of seats that he needed. I gave a specific
number of seats that I thought he would carry, and I received headlines that I predicted the exact
number. On that show live, after receiving the acclaim, and the enthusiasm, and credit, I interrupted
and said if this government ever collapses, it will be within 14 months, and the individual will never
be re-elected for office again. I forgot about this, and coming home from a trip one day I walked
into my office and there were some 80 messages on the answering machine, all from reporters in
Canada. The government had collapsed. Three parties went against the Prime Minister and his
party, and I was only off by 5 days.
What's on the horizon for you right now?

I am already working on my 18th book, in fact my 18th and 19th book, one of which is dealing
with techniques of self-help, and the other, well I‘ve been asked for years to write extensively my
memoirs. The problem is it would be a book hundreds and hundreds of pages, so I‘ll have to do it
piecemeal. As far as a biography, I would have to treat it the way P.T. Barnum did. First of all, if
you write a biography and you put it on the market, doesn‘t that end everything? Obviously it
doesn‘t end, because you are still working after that. So if I write a biography, I will follow in the
footsteps of Barnum who added a chapter every year to keep things up to date.
At this point, I am in the development of an infommercial . I‘ve done a number in the past. One of
my favorite commercial successes was an Aflac commercial following Yogi Bera, and Advertising
Age pointed out that the year my commercial appeared was the most recognized commercial for
much of the year. It was interesting in the commercial hypnotizing a duck.
With my 75th birthday coming up in January, I‘ve been asked if I ever plan to retire, with the hectic
schedule I have. It‘s hard for anyone to conceive this, having now done in recent months 3 Jimmy
Fallon Shows at NBC, the only guest to appear more than once on his show, and in this case 3
times, and my third show with Mike Huckabee on Fox News will be in January of 2010, and by the
time this book is read, who knows how many more times. So the question is do I plan to retire, and
my answer is very simple, as I‘ve stated in performances all over the world. Yes, as of November,
2009, I have announced my plans, ―I intend to retire ten days after I pass away!‖
That‘s the spirit! Any last words before you leave us?
I would just want to reflect and simply state that my life, as has been told me over and over
again by writers, television broadcasters, individuals in every area you can imagine, has been an
adventure. It‘s hard to believe that one person can have this adventure in one lifetime. Through all
this, one of the quiet personal satisfactions of my life, and who could have ever dreamt this, was to
find my name used endlessly around the world in stories, books, television series, movies. There is
one crime show on TV that uses my name every 4 or 5 stories, and all dealing with and usually
captured in the phrase, ―Who do you think I am, Kreskin?‖ It is an honor and a thrill to know that
people will recognize the name, even used parenthetically, in a passing phrase.
Roger Waters
Early years (1943–65)

Born in Great Bookham, near Leatherhead, Surrey, Waters grew up in Cambridge. His father Eric Fletcher Waters
fought in World War II and died in combat at Anzio in 1944, when Waters was only five months old. Waters
referred or alluded to the loss of his father throughout his work, from "Corporal Clegg" (A Saucerful Of Secrets,
1968) and "Free Four" (Obscured By Clouds, 1972) to the sombre "When the Tigers Broke Free", first used in the
movie version of The Wall (1982), and "The Fletcher Memorial Home" (The Final Cut, 1983).
Waters and Syd Barrett attended the Morley Memorial Junior School on Blinco Grove, Cambridge, and later both
attended the Cambridgeshire High School for Boys (now Hills Road Sixth Form College), while fellow band member
David Gilmour attended The Perse School in the same road.[1] He met Nick Mason and Richard Wright while
attending the Regent Street Polytechnic school of architecture. He was a keen sportsman and was fond of swimming in
the River Cam at Grantchester Meadows. At 15 he was chair of YCND in Cambridge.
Pink Floyd years (1965–83)
In 1965, Roger Waters co-founded Pink Floyd along with Syd Barrett, Richard Wright and Nick Mason. Although
Barrett initially did most of the songwriting for the band, Waters wrote the song "Take Up Thy Stethoscope and
Walk" on their debut LP, The Piper at the Gates of Dawn. The album was a critical success and positioned the
band for stardom. Barrett's deteriorating mental health led to increasingly erratic behavior, rendering him unable to
continue in his capacity as Pink Floyd's lead singer and guitarist. Waters attempted to coerce his friend into psychiatric
treatment; this proved unhelpful, and the band approached David Gilmour to replace Barrett at the end of 1967.
Even the band's former managers felt that Pink Floyd would not be able to sustain its initial success without Barrett.
Filling the void left by Barrett's departure, Waters began to chart Pink Floyd's new artistic direction. The lineup with
Gilmour and Waters eventually brought Pink Floyd to prominence, producing a series of albums in the 1970s that
remain among the most critically acclaimed and best-selling records of all time.
In 1970, Waters collaborated with British composer Ron Geesin, who co-wrote Pink Floyd's title suite from Atom
Heart Mother, on a soundtrack album, Music from "The Body", which consisted mostly of instrumentals interspersed
with songs composed by Waters. Within Pink Floyd, Waters became the main lyrical contributor, exerting
progressively more creative control over the band: he produced thematic ideas that became the impetus for concept
albums such as The Dark Side of the Moon and Wish You Were Here, for which he wrote all of the lyrics and some
of the music. After this, Waters became the primary songwriter, composing Animals and The Wall largely by himself
(though continuing to collaborate with Gilmour on a few tracks).
Initially, Waters' bandmates were happy to allow him to write the band's lyrics and guide its conceptual direction while
they shared the opportunity to contribute musical ideas. However, this give-and-take relationship began to dissolve: a
consequence of the band's collective ennui, according to Waters. Songwriting credits were a source of contention in these
years; Gilmour has noted that his contributions to tracks like "Another Brick in the Wall, Part II", with its guitar
solo, were not always noted in the album credits. Nick Mason addresses the band infighting in his memoir, Inside
Out: A Personal History of Pink Floyd, characterizing Waters as egomaniacal at times. While recording The Wall,
Waters decided to fire Wright, after Wright's personal problems began to affect the album production. Wright stayed
with the band as a paid session musician while Waters led the band through a complete performance of the album on
every night of the brief tour that followed, for which Gilmour acted as musical director. Oddly, Wright's firing and
position as a paid session musician meant he was the only one of the band to realize a profit from the tour - since all
bills for the expensive tour were paid by the three remaining 'members'.
In 1983, the last Waters–Gilmour–Mason collaboration, The Final Cut, was released. The sleeve notes describe it
as being a piece "by Roger Waters" that was "performed by Pink Floyd". Gilmour unsuccessfully tried to delay
production on the album until he could author more material; Waters refused, and in 1985, he proclaimed that the
band had dissolved due to irreconcilable differences. The ensuing battle between Waters and Gilmour over the latter's
intention to continue to use the name Pink Floyd descended into threatened lawsuits and public bickering in the press.
Waters claimed that, as the original band consisted of himself, Syd Barrett, Nick Mason and Richard Wright,
Gilmour could not reasonably use the name Pink Floyd now that it was without three of its founding members.
Another of Waters' arguments was that he had written almost all of the band's lyrics and a great part of the music
after Barrett's departure.
***
By Tommy Vance
Interviewed: Roger Waters
[Note: the songs appearing in brackets were played on the radio at this point in the interview.]
(TV=Tommy Vance / RW=Roger Waters)
TV: Where did the idea come from?
RW: Well, the idea for 'The Wall' came from ten years of touring, rock shows, I think,
particularly the last few years in '75 and in '77 we were playing to very large audiences, some of
whom were our old audience who'd come to see us play, but most of whom were only there for the
beer, in big stadiums, and, er, consequently it became rather an alienating experience doing the
shows. I became very conscious of a wall between us and our audience and so this record started out
as being an expression of those feelings.
TV: But it goes I think a little deeper than that, because the record actually seems to start at the beginning of the
character's life.
RW: The story has been developed considerably since then, this was two years ago [1977], I
started to write it, and now it's partly about a live show situation--in fact the album starts off in a live
show, and then it flashes back and traces a story of a character, if you like, of Pink himself, whoever
he may be. But initially it just stemmed from shows being horrible.
TV: When you say "horrible" do you mean that really you didn't want to be there?
RW: Yeah, it's all, er, particularly because the people who you're most aware of at a rock show
on stage are the front 20 or 30 rows of bodies. And in large situations where you're using what's
euphemistically called "festival seating" they tend to be packed together, swaying madly, and it's very
difficult to perform under those situations with screaming and shouting and throwing things and
hitting each other and crashing about and letting off fireworks and you know?
TV: Uh-huh.
RW: I mean having a wonderful time but, it's a drag to try and play when all that's going on.
But, er, I felt at the same time that it was a situation we'd created ourselves through our own greed,
you know, if you play very large venues...the only real reason for playing large venues is to make
money.
TV: But surely in your case it wouldn't be economic, or feasible, to play a small venue.
RW: Well, it's not going to be on when we do this show, because this show is going to lose
money, but on those tours that I'm talking about; the '75 tour of Europe and England and the '77
tour of England and Europe and America as well, we were making money, we made a lot of money
on those tours, because we were playing big venues.
TV: What would you like the audience to do--how would you like the audience to react to your music?
RW: I'm actually happy that they do whatever they feel is necessary because they're only
expressing their response to what it's like, in a way I'm saying they're right, you know, that those
shows are bad news.
TV: Um.
RW: There is an idea, or there has been an idea for many years abroad that it's a very uplifting
and wonderful experience and that there's a great contact between the audience and the performers
on the stage and I think that that is not true, I think there've been very many cases, er, it's actually a
rather alienating experience.
TV: For the audience?

RW: For everybody.
TV: It's two and a half years since you had an album out and I think people will be interested in knowing how long
it's taken you to develop this album.
RW: Right, well we toured, we did a tour which ended I think in July or August '77 and when
we finished that tour in the Autumn of that year, that's when I started writing it. It took me a year,
no, until the next July, working on my own, then I had a demo, sort of 90 minutes of stuff, which I
played to the rest of the guys and then we all started working on it together, in the October or
November of that...October '78, we started working on it.
TV: And you actually ceased recording, I think, in November of this year? [1979]
RW: Yeah. We didn't start recording until the new year, well, till April this year, but we were
rehearsing and fiddling about obviously re-writing a lot. So it's been a long time but we always tend
to work very slowly anyway, because, it's difficult.
TV: The first track is "In the Flesh"?

RW: Yeah.
TV: This actually sets up what the character has become.
RW: Yes.
TV: At the end.

RW: Couldn't have put it better myself! It's a reference back to our '77 tour which was called
"Pink Floyd in the Flesh."
TV: And then you have a track called "The Thin Ice."
RW: Yeah.
TV: Now, this is I think, at the very very *beginning* of the character; call the character "Pink"...
RW: Right.
TV: ...the very beginning of Pink's [simultaneously] life?

RW: Yeah, absolutely, yeah. In fact at the end of "In the Flesh" er, you hear somebody shouting
"roll the sound effects" da-da-da, and er, you hear the sound of bombers, so it gives you some
indication of what's happening. In the show it'll be much more obvious what's going on. So it's a
flashback, we start telling the story. In terms of this it's about my generation.
TV: The war?

RW: Yeah. War-babies. But it could be about anybody who gets left by anybody, if you like.
TV: Did that happen to you?

RW: Yeah, my father was killed in the war.
[IN THE FLESH] [THE THIN ICE]
TV: And then comes "Another Brick in the Wall, Part I"...which is actually about the father who's gone?
RW: Yeah.
TV: Though the father in the album "has flown across the ocean..."
RW: Yeah.
TV: ...Now the assumption from listening to that would be that he's gone away to somewhere else.
RW: Yeah, well, it could be, you see it works on various levels--it doesn't have to be about the
war--I mean it *should* work for any generation really. The father is also...I'm the father as well.
You know, people who leave their families to go and work, not that I would leave my family to go
and work, but lots of people do and have done, so it's not meant to be a simple story about, you
know, somebody's getting killed in the war or growing up and going to school, etc., etc., etc. but
about being left, more generally.
TV: "The Happiest Days of our Lives" is, er, a complete condemnation, as I see it, as I've heard it in the
album, of somebody's scholastic career.
RW: Um. My school life was very like that. Oh, it was awful, it was really terrible. When I hear
people whining on now about bringing back Grammar schools it really makes me quite ill to listen to
it. Because I went to a boys Grammar school and although... want to make it plain that some of the
men who taught (it was a boys school) some of the men who taught there were very nice guys, you
know I'm not...it's not meant to be a blanket condemnation of teachers everywhere, but the bad ones
can really do people in--and there were some at my school who were just incredibly bad and treated
the children so badly, just putting them down, putting them down, you know, all the time. Never
encouraging them to do things, not really trying to interest them in anything, just trying to keep
them quiet and still, and crush them into the right shape, so that they would go to university and "do
well."
[ANOTHER BRICK: ONE]

[THE HAPPIEST DAYS OF OUR LIVES]
[ANOTHER BRICK: TWO]
TV: What about the track "Mother"? What sort of a mother is this mother?
RW: Over-protective; which most mothers are. If you can level one accusation at mothers it is
that they tend to protect their children too much. Too much and for too long. That's all. This isn't a
portrait of my mother, although some of the, you know, one or two of the things in there apply to
her as well as to I'm sure lots of other people's mothers. Funnily enough, lots of people recognize
that and in fact, a woman that I know the other day who'd heard the album, called me up and said
she'd liked it. And she said that listening to that track made her feel very guilty and she's got herself
three kids, and I wouldn't have said she was particularly over-protectice towards her children. I was
interested, you know, she's a woman, of well, my age, and I was interested that it had got through to
her. I was *glad* it had, you know, if you can...if it means...
[MOTHER]
TV: And then comes the track "Goodbye Blue Sky." What is actually happening at this stage in Pink's life?
RW: Since we compiled the album I haven't really clearly tried to think my way through it, but I
know that this area is very confusing. I think the best way to describe it is as a recap if you like of
side one. (This is the start of side two.) And you could look upon "Goodbye blue sky" as a recap of
side one. So, yes, it's remembering one's childhood and then getting ready to set off into the rest of
one's life.
[GOODBYE BLUE SKY]
TV: And then comes the track "What shall we do now." The assumption this would be when the emergent adult...
RW: That's right. Now that's the track that's not on the album. It was quite nice! In fact I
think we'll do it in the show. But it's quite long, and this side was too long, and there was too much
of it, it's basically the same as "Empty spaces" and we've put "Empty spaces" where "What shall we
do now" is.
TV: Because without those words listening to the album....
RW: Yeah it makes less sense.
TV: Well it's not so much that it makes less sense it just means that there's a period in Pink's life that isn't
indicated. I mean he jumps from the recap of side one immediately into "Young Lust."
RW: Right. No, he doesn't, he goes into "Empty spaces" and the lyrics there are very similar to
the first four lines of "What shall we do now?" But what's different really is this list--"shall we buy a
new guitar, drive a more powerful car, work right through the night," you know, and all that stuff.
TV: "Give up meat, rarely sleep, keep people as pets."

RW: Right. It's just about the ways that one protects oneself from one's isolation by becoming
obsessed with other people's ideas. Whether the idea is that it's good to drive...have a powerful car,
you know, or whether you're obsessed with the idea of being a vegetarian...adopting somebody else's
criteria for yourself. Without considering them from a position of really being yourself; on this level
the story is extremely simplistic, I hope that on other levels there are less tangible, more effective
things that come through. I think it's ok in a show, where you only hear the words, you probably
won't hear the words at all the way rock and roll shows get produced.
TV: But they're there obviously if you need them?

RW: Yeah. That's why we didn't go into a great panic about trying to change all the inner bags
and things, I think it's important that they're there so that people can read them. Equally I think it's
important that people know why they're there, otherwise I agree it's terribly confusing.
TV: And then you come to this track which is called "Young lust." As far as Pink the rock and roll
star, and Roger Waters the writer, was there ever a young lust section of your life?
RW: Well, yes, I suppose, actually, yes it did happen to me, that was like me. But I would never have
said it, you see, I'd never have come out with anything like that, I was much too frightened. When I
wrote this song "Young lust" the words were all quite different, it was about leaving school and
wandering around town and hanging around outside porno movies and dirty bookshops and being
very interested in sex, but never actually being able to get involved because of being too frightened
actually. Now it's completely different, that was a function of us all working together on the record,
particularly with Dave Gilmour and Bob Ezrin who, we co-produced the album together, the three
of us co-produced it. "Young Lust" is a pastiche number. It reminds me very much of a song we
recorded years and years ago called "The Nile Song," it's very similar, Dave sings it in a very similar
way. I think he sings "Young Lust" terrific, I love the vocals. But it's meant to be a pastiche of any
young rock and roll band out on the road.
[EMPTY SPACES]
[YOUNG LUST]
RW: I think it's great; I love that operator on it, I think she's wonderful. She didn't know what
was happening at all, the way she picks up on..I mean it's been edited a bit, but the way she picks up,
all that stuff about "is there supposed to be someone else there beside your wife" you know I think
is amazing, she really clicked into it straight away. She's terrific!
TV: And then comes "One of My Turns."

RW: Yes, so then the idea is that we've leapt somehow a lot of years, from "Goodbye Blue
Sky" through "What Shall we do Now" which doesn't exist on the record anymore, and "Empty
Spaces" into "Young Lust" that's like a show; we've leapt into a rock and roll show, somewhere on
into our hero's career. And "One of My Turns" is supposed to be his response to a lot of aggro
[aggression] in his life and not having ever got anything together, although he's married, well, no he
has got things together, but he's been married, and he's just had a...he's just splitting up with his wife,
and in response he takes another girl up to his hotel room.
TV: And he really is, "he's got everything but nothing."

RW: He's had it now, he's definitely a bit "yippee" now, and "One of My Turns" is just, you
know, him coming in and he can't relate to this girl either, that's why he just turns on the TV, they
come into the room and she starts going on about all the things he's got and all that he does is just
turn on the TV and sit there, and he won't talk to her.
[ONE OF MY TURNS]
TV: Then comes a period in "Don't Leave Me Now" when he realizes the state that he's in, he still feels, if you
like, aggressive, completely depressed, thoroughly paranoid, and very lonely, and but very lonely, to the point of suicide.
RW: Yeah, well, not quite...but yes it is a very depressing song. I love it! I really like it!
TV: There's this line in the song "to beat you to a pulp on a Saturday night."
RW: Yeah.
TV: Now that's just, I don't know how to phrase that, but it really is the depths, if you like, of deprived depravity.
RW: Well a lot of men and women do get involved with each other for lots of wrong reasons,
and they do get very aggressive towards each other, and do each other a lot of damage. I, of course,
have never struck a woman, as far as I can recall, Tommy, and I hope I never do, but a lot of people
have, and a lot of women have struck men as well, there is a lot of violence in relationships often
that aren't working. I mean this is obviously an extremely cynical song, I don't feel like that about
marriage now.
TV: But you did?

RW: Er, this is one of those difficult things where a small percentage of this is
autobiographical, and all of it is rooted in my own experience, but it isn't my autobiography,
although it's rooted within my own experience, like any writing, some of it's me and an awful lot of
it is what I've observed.
TV: But there's also a lot of fundamental truth in it.
RW: Well I hope so, if you look and see things and if they ring true, then those are the kind of
things, if you're interested in writing songs of books or poems or writing anything then those are the
things that you try and write down, because those are the things that are interesting, and those are
the things that will touch other people, which is what writing is all about, you know. Some people
have a need to write down their own feelings in the hope that other people will recognize them, and
derive some worth from them, whether it's a feeling of kinship or whether it makes them happy, or
whatever, they will derive something from it.
[DON'T LEAVE ME NOW]

[ANOTHER BRICK: 3]
TV: "Another Brick 3" "I don't need no arms around around me," he seems to be in a position whereby he's no
longer confused, in other words he's more confident. Then comes the track "Goodbye Cruel World." What is
happening here?
RW: Well, what's happening is; from the beginning of "One of My Turns" where the door
opens, there, through to the end of side three, the scenario is an American hotel room, the groupie
leaves at the end of "One of My Turns" and then "Don't Leave Me Now" he sings which is to
anybody, it's not to her and it's not really to his wife, it's kind of to anybody; if you like it's kind of
men to women in a way, from that kind of feeling, it's a kind of very guilty song as well. Anyway at
the end of that, there he is in his room with his TV and there's that symbolic TV smashing, and then
he resurges a bit, out of that kind of violence, and then he sings this loud saying "all you are just
bricks in the wall," I don't need anybody, so he's convincing himself really that his isolation is a
desirable thing, that's all.
TV: But how is he in that moment of time, when he says "goodbye cruel world"?
RW: That's him going catatonic if you like, that final and he's going back and he's just curling
up and he's not going to move. That's it, he's had enough, that's the end.
[GOODBYE CRUEL WORLD]
RW: In the show, we've worked out a very clever mechanical system so that we can complete
the middle section of the wall, building downwards, so that we get left with a sort of triangular
shaped hole that we can fill in bit by bit. Rather than filling it in at the top, there'll be this enormous
wall across the auditorium, we'll be filling in this little hole at the bottom. The last brick goes in then,
as sings goodbye at the end of the song. That is the completion of the wall. It's been being built in
my case since the end of the Second World War, or in anybody else's case, whenever they care to
think about it, if they feel isolated or alienated from other people at all, you know, it's from
whenever you want.
TV: So it would be accurate to say that at that moment in time he's discovered exactly where he's at, and the wall is
complete, in other words, his character, via all the experiences he's had, has finally, in his eyes anyway, been completed.
RW: He's nowhere.
TV: And then comes the beginning of side three, which actually starts with a different song than on the sleeve.
RW: Yeah. Bob Ezrin called me up and he said I've just listened to side three and it doesn't
work. In fact I think I'd been feeling uncomfortable about it anyway. I thought about it and in a
couple of minutes I realized that "Hey You" could conceptually go anywhere, and it would make a
much better side if we put it at the front of the side, and sandwiched the middle theatrical scene,
with the guy in the hotel room, between an attempt to re-establish contact with the outside world,
which is what "Hey You" is; at the end of the side which is, well, what we'll come to. So that's why
those lyrics are printed in the wrong place, is because that decision was made very late; I should
explain at this point, the reason that all these decisions were made so late was because we'd
promised lots of people a long time ago that we would finish this record by the beginning of
November, and we wanted to keep that promise.
TV: Well the guy is now behind the wall...

RW: Yeah, he's behind the wall a) symbolically and b) he's locked in a hotel room, with a
broken window that looks onto the freeway, motorway.
TV: And now what's he going to do with his life?

RW: Well, within his mind, because "Hey You" is a cry to the rest of the world, you know
saying hey, this isn't right, but it's also, it takes a narrative look at it, when it goes...Dave sings the
first two verses of it and then there's an instrumental passage and then there's a bit that goes "but it
was only fantasy" which I sing, which is a narration of the thing; "the wall was too high as you can
see, no matter how he tried he could not break free, and the worms ate into his brain." The worms.
That's the first reference to worms...the worms have a lot less to do with the peice than they did a
year ago; a year ago they were *very* much a part of it, if you like they were my symbolic
representation of decay. Because the basic idea the whole thing really is that if you isolate yourself
you decay.
[HEY YOU]
So at the end of "Hey You" he makes this cry for help, but it's too late.
TV: Because he's behind the wall?

RW: Yeah, and anyway he's only singing it to himself, you know, it's no good crying for help
if you're sitting in the room all on your own, and only saying it to yourself. All of us I'm sure from
time to time have formed sentences in our minds that we would like to say to someone else but we
don't say it, you know, well, that's no use, that doesn't help anybody, that's just a game that you're
playing with yourself.
TV: And that's what comes up on the track "Nobody Home," the first line being "I've got a little black book
with my poems in."
RW: Yes, exactly, precisely, yeah, after "is there anybody out there" which is really just a mood
piece.
TV: So he's sitting in his room with a sort of realization that he needs help, but he doesn't know how to get it really.
RW: He doesn't really want it.
TV: Doesn't want it at all?

RW: Yeah, well, part of him does, but part of him that's you know, making all his arms and
legs, that's making everything work doesn't want anything except just to sit there and watch the TV
set.
TV: But in this track "Nobody Home" he goes through all the things that he's got: "he's got the obligatory
Hendrix perm..." all the things that we know are pretty real in the world of rock and roll.
RW: There are some lines in here that harp back to the halcyon days of Syd Barret, it's partly
about all kinds of people I've known, but Syd was the only person I used to know who used elastic
bands to keep his boots together, which is where that line comes from, in fact the "obligatory
Hendrix perm" you have to go back ten years before you understand what all that's about.
TV: Now when he says I've got fading roots at the very end...
RW: Well, he's getting ready to establish contact if you like, with where he started, and to start
making some sense of what it was all about. If you like he's getting ready here to start getting back to
side one.
TV: Which he does via the next track which is called "Vera," very much World War II...being born and created if
you like in that era again.
RW: This is supposed to be brought on by the fact that a war movie comes on the TV.
TV: Which you can actually hear?

RW: Mentioning no titles or names! Which you can actually hear, and that snaps him back to
then and it precedes, what is for me anyway, is the central song on the whole album "Bring the Boys
Back Home.‘‘
TV: Why?
RW: Well, because it's partly about not letting people go off and be killed in wars, but it's also
partly about not allowing rock and roll, or making cars or selling soap or getting involved in
biological research or anything that anybody might do, not letting that become such an important
and "jolly boys game" that it becomes more important than friends, wives, children, other people.
[IS THERE ANYBODY OUT THERE?]

[NOBODY HOME]
[VERA]
[BRING THE BOYS BACK HOME]
TV: So physiologically what stage of the character Pink for the track "Comfortably Numb"?
RW: After "Bring the Boys Back Home" there is a short piece where a tape loop is used; the
teachers voice is heard again and you can feel the groupie saying "are you feeling ok" and there's the
operator saying, er, "there's a man answering" and there's a new voice introduced at that point and
there's somebody knocking on the door saying "come on it's time to go," right, so the idea is that
they are coming to take him to the show because he's got to go and perform that night, and they
come into the room and they realize something is wrong, and they actually physically bring the
doctor in, and "Comfortably Numb" is about his confrontation with the doctor.
TV: So the doctor puts him in such a physiological state that he can actually hit the stage?
RW: Yes, he gives him an injection, in fact it's very specific that song.
TV: "Just a little pinprick"?

RW: Yeah.
TV: "There'll be no more aaaaaaaaaaah!"

RW: Right.
[COMFORTABLY NUMB]
RW:Because they're not interested in any of these problems, all they're interested in is how
many people there are and tickets have been sold and the show must go on, at any cost, to anybody.
I mean I, personally, have done gigs when I've been very depressed, but I've also done gigs when
I've been *extremely* ill, where you wouldn't do any ordinary kind of work.
TV: Because the venue is there and because the act's there...
RW: And they've paid the money and if you cancel a show at short notice, it's expensive.
TV: So the fellow is back in the stage, but he's very...I mean he's vicious, fascist.
RW: Well, here you are, here is the story: I've just remembered; Montreal 1977, Olympic Stadium,
80,000 people, the last gig of the 1977 tour, I, personally, became so upset during the show that I
*spat* at some guy in the front row, he was shouting and screaming and having a wonderful time
and they were pushing against the barrier and what he wanted was a good riot, and what I wanted
was to do a good rock and roll show and I got so upset in the end that I spat at him, which is a very
nasty thing to do to anybody. Anyway, the idea is that these kinds of fascist feelings develop from
isolation.
TV: And he evidences this from the center of the stage?

RW: This is him having a go at the audience, all the minorities in the audience. So the
obnoxiousness of "In the Flesh" and it is meant to be obnoxious, this is the end result of that much
isolation and decay.
[THE SHOW MUST GO ON]

[IN THE FLESH]
TV: And then seemingly in the track "Run like Hell" this is him telling the audience...?
RW: No...
TV: Is this him telling himself?

RW: No, "Run like Hell," is meant to be him just doing another tune in the show. So that's like
just a song, part of the performance, yeah...still in his drug-crazed state.
[RUN LIKE HELL]
RW:After "Run like Hell" you can hear an audience shouting "Pink Floyd" on the left-hand
side of the stereo, if you're listening in cans, and on the right-hand side or in the middle, you can
hear voices going "hammer" they're saying ham-mer, ham-mer...This is, the Pink Floyd audience, if
you like, turning into a rally.
TV: And then comes the track "Waiting for the Worms," the worms in your mind are decay, decay is imminent.
RW: "Waiting for the Worms" in theatrical terms is an expression of what happens in the
show, when the drugs start wearing off and what real feelings he's got left start taking over again,
and he is forced by where he is, because he's been dragged out his real feelings. Until you see either
the show or the film of this thing you won't know why people are shouting "hammer," but the
hammer, we've used the hammer as a symbol of the forces of oppression if you like. And the worms
are, the thinking part. Where it goes into the "waiting" sections...
TV: "Waiting for the worms to come, waiting to cut out the deadwood."
RW: Yeah, before it goes "waiting to cut out the deadwood" you hear a voice through a loud-
hailer, it starts off, it goes "testing, one two," or something, and then it says "we will convene at one
o'clock outside Brixton Town Hall," and it's describing the situation of marching towards some kind
of National Front rally in Hyde Park. Or anybody, I mean the National Front are what we have in
England but it could be anywhere in the world. So all that shouting and screaming... because you
can't hear it you see, if you listen very carefully you might hear, er, Lambeth Road, and you might
hear Vauxhall Bridge and you might hear the words "Jewboys," er, "we might encounter some
Jewboys" it's just me ranting on.
[WAITING FOR THE WORMS]
TV: Who puts him on trial?

RW: He does.
TV: He puts himself on trial?

RW: Yes. The idea is that the drugs wear off and in "Waiting for the Worms" he keeps flipping
backwards and forwards from his real, or his original persona if you like, which is a reasonably kind
of humane person into this waiting for the worms to come, persona, which is crack!, flipped, and is
ready to crush anybody or anything that gets in the way... which is a response to having been badly
treated, and feeling very isolated. But at the end of "Waiting for the Worms" it gets too much for
him, the oppression and he says "stop." I don't think you can actually hear the word "stop" on the
record, or maybe you can, anyway it goes "STOP," yeah, it's very quick, and then he says "I wanna
go home, take off this uniform and leave the show," but he says "I'm waiting in this prison cell
because I have to know, have I been guilty all this time" and then he tries himself if you like. So the
judge is part of him just as much as all the other characters and things he remembers...they're all in
his mind, they're all memories, anyway, at the end of it all, when his judgment on himself is to de-
isolate himself, which in fact is a very good thing.
TV: So now it has really turned full circle.

RW: Almost, yeah. That kind of circular idea is expressed in just snipping the tape at a certain
point and just sticking a bit on the front, that tune, you know this "Outside the Wall" tune, at the
end.
TV: So the character in "Outside the Wall" says "all alone, or in two's...mad buggers wall," and that really is the
statement of the album.
RW: And which I have no intention of even beginning to explain.
[THE TRIAL]
[OUTSIDE THE WALL]
TV: Roger, what will it actually be like when we see "The Wall" in concert?
RW: Just like it normally is for a lot of people, who're all packed behind PA systems, and
things, you know like, every seat in the house is sold so there's always thousands of people over the
site who can't see anything, and very often in rock and roll shows the sound is dreadful, because,
because it costs too much to make it really good, in those kind of halls, you know, the sound will be
good mind you in these shows, but the impediments to seeing what's going on and hearing what's
going on will be symbolic, rather than real, except for the wall, which will stop people seeing what's
going on.
TV: Is the wall going to remain there?

RW: No, not forever.
TV: Who's going to knock it down?
RW: Well, I think we should wait and see about that, for the live show, I think it would be silly
really for me to explain to you everything that's going to happen in the live show that we put up,
mind you, anybody with any sense listening to the album will be able to spot whereabouts in the
show it is that it comes down!
TV: That's the physical wall, what about the physiological wall?
RW: Ah, well, that's another matter, whether we make any in-roads into that or not, is
anybody's guess. I hope so.
Kyra Schon
Kyra Schon has the distinction of having portrayed Karen Cooper, the trowel-wielding zombie kid in George Romero's
original "Night of the Living Dead." She currently keeps her artistic skills honed by teaching art, creating
handmade sterling silver and bronze jewelry and designing whimsical greeting cards featuring her pooch Spiffy, a hound
with an abundant personality. Kyra formerly wrote a weekly feature for The Horror Channel website entitled
"Ghoulish Guidance", an advice column for zombies and other people.
***
Interview
With
Kyra Schon
I'm sure you get asked this constantly, but how old were you when you made NOTLD? Did it feel like work, or
was it just a lot of fun for you?
Kyra Schon: Oh, silly boy… You should have read my FAQ! I was almost 10 when I did
those scenes. It didn't exactly feel like work, but I remember being worried that I'd screw something
up. I knew that they were working with a very limited budget and that they couldn't afford to waste
time or film. I think my dad must have impressed that on me because I'm sure I wouldn't have been
aware of that otherwise. Luckily, none of my scenes needed to be redone, but then, stabbing
someone is so easy. It was really fun watching other people screw up their scenes though!
If I'm not mistaken Karl Hardman, who played your father in the movie, really was your dad. Most kids have at
least a little anger towards their parents, so did you draw on that for your acting inspiration? Did your parents hide
all the garden tools for a while afterwards?
KS: Actually, the character didn't really exhibit any aggression toward her father. She only
ate his arm after he was already dead. It was her mother that bore the brunt of Karen's hostilities.
And Marilyn wasn't my real mother, so I didn't have any animosity towards her. I guess any anger I
may have felt towards my parents probably didn't surface until a few years later. Sorry Mom. Sorry
Dad. Evidently I incurred a serious karmic deficit in my early teen years because I pay for it every
day at work. I'm a middle school teacher now.
Do you regret not pursuing an acting career more aggressively?

KS: Not at all. I hate being in front of a camera. I don't even like doing interviews off-
camera in person. I'm actually incredibly shy and neurotic about public speaking and performing.
You're image has probably been the one used the most on NOTLD memorabilia and promotional materials. How
does it feel to be such a horror icon?
KS: It's great when I see someone with my face tattooed on his (or her) arm or leg. It's the
sincerest form of flattery and I love it. And it's cool when I've seen bands like Half Life or The
Independents use my image on their shirts. It doesn't feel so good when I see some big company
spewing out thousands of t-shirts with my face on them and I don't get a dime for it.
Tell me a little bit about your jewelry and greeting card business. Is there a website where interested parties can go to
purchase your wares?
KS: I do lost-wax casting, mostly in sterling silver, though if someone really twists my arm,
I'll cast in gold too. I work predominantly on a commission basis but I've sold pieces that I already
had, too. The Spiffy Cards are my latest venture and there's a website for them. Spiffy is my
pointer-greyhound mutt and she is my muse and soul-mate.
You've been doing the convention circuit for some time now. Is it still fun? Do you ever get bored with answering the
same questions (probably the ones I've asked) over and over?
KS: I love doing conventions. The people who attend horror conventions are among the
nicest people I've met anywhere. I see a lot of the same people at most of the conventions that I do
and I look forward to that. Each show is like a reunion. I don't get tired of answering the same
questions. Remember, I'm a middle school teacher.
I know John Russo and some of the other NOTLD creators have been doing various sequels and related films with
some of the original 'Night' cast. Have you been in any of those, or have any plans to be?
KS: I haven't been in any of the sequels and I have no plans to be. It's that camera thing.
But if George Romero asked me to be a totally decayed and unrecognizable zombie in his next film,
I'd do it!
Any last words?
KS: I hurt…
I thought so…
***
Films:
Night of the Living Dead / 1968
Michael McCarty
Having been a friend of Mike's for a couple of years now, as well as big fan of his work, I felt compelled to have him
listed within this book as a ''special guest.'' He is a real rarity in the genre today; personable, helpful, cooperative,
professional, dedicated, has a great sense of humor, and most of all, he is really just an all-around nice guy.
He has been nominated for numerous awards, and has won awards for his writing. He has met celebrities I could only
dream of meeting, and those celebrities I'm sure have felt better having met him. His name has been associated with
some of the biggest names in the horror genre, as well as many other genres, and he has always seemed to have pulled it
off effortlessly, and with real style, and grace.
I feel better - and very lucky, actually - for having met up with him, and although we only correspond via email, I
hope to meet him in person someday, shake his hand, cement our friendship. He is one of a kind.
His websites are: www.myspace.com/ottochurch, www.myspace.com/monsterbook,
www.myspace.com/poetrymonsterbook and www.myspace.com/route66ghost. He is also on facebook.
Iron Dave / November 2009
***
Michael McCarty has been a professional writer since 1983 and is the author of 17 books (fiction
and nonfiction) and several hundred articles, short stories, poems, etc. He is the 2008 David R.
Collins‘ Literary Achievement Award winner from the Midwest Writing Center. In 2005 was a Bram
Stoker Finalist for the Nonfiction Book Of The Year with More Giants Of The Genre. He lives in
Rock Island, Illinois and was a former stand-up comedian, musician and managing editor of a music
magazine and staff writer for ―Science Fiction Weekly‖ the official website of the SCI FI Channel.
His novel Monster Behind The Wheel, co-written with Mark McLaughlin (Delirium
Books/Corrosion Press) was published in the summer of 2008 and the science fiction novel Out Of
Time, co-written with Connie Corcoran Wilson (Lachesis Publishing, 2008)
Mike‘s short story collections include Dark Duets (Wildside Press, 2005), All Things Dark And
Hideous, co-written with Mark McLaughlin and published in England (Rainfall Books, 2008) and
Little Creatures (Sam‘s Dot Publishing, 2008). He also co-written the poetry collection Attack Of The
Two-Headed Poetry Monster, with Mark McLaughlin (Skullvines Press, 2008).
His nonfiction books include Giants Of The Genre (Wildside Press, 2003), Modern Mythmakers
(McFarland & Company, 2008) and Ghostly Tales Of Route 66, co-written Connie Corcoran Wilson
(Quixote Press, 2008).
In 2009 Michael McCarty & Mark McLaughlin wrote the digital download chapbook Professor
Lagungo‘s Delirious Download Of Digital Deviltry & Doom (Delirium Books), the vampire satire novel
Liquid Diet (Black Death/Demonic Clown Books), the short story collection A Little Help From My
Fiends (Sam‘s Dot Publishing), a collection of interviews, reviews and essays with Esoteria-Land
(BearManor Media) and the novella I Kissed The Ghoul (Skullvines Press).
In 2010, his first young adult science fiction book Rusty The Robot‘s Holiday Adventure co-written
with Sherry Decker is expected to be published by Sam‘s Dot Publishing.
His websites are: www.myspace.com/monsterbook, www.myspace.com/monsterpoetrybook,
and www.myspace.com/ottochurch.
He can be contacted:
Mike McCarty
P.O. Box 4441
Rock Island, IL 61201
mikelmccarty@hotmail.com
***
Iron Dave Interview
With
Michael McCarty
Greetings and salutations, Mike. Been keeping busy? Or is that an understatement?

Busy, busy and more busy – I‘m too busy to schedule a nervous breakdown (laughs). As
the saying goes, ―No rest for the wicked‖ – so I must be extremely wicked.
I have recently finished reading your and Mark McLaughlin‘s book, Monster Behind The Wheel, and I must
say, it is a regular horror tour-de-force. Your title character, Jeremy Carmichael, is one of the most memorable
characters I‘ve ever seen in horror fiction. Where did the idea for Jeremy come from? Or…should I fear to ask?
Thank you for your kind words. Jeremy was a truly organic character that sprang to life
quickly. When I was going to college, I had this idea of the Land Of The Dead – a Purgatory-type
place where the dead wait and wait until their time and fate is decided. I also had the idea of
someone speaking to character through car speakers.
When I started Monster Behind The Wheel, I originally wanted the book to be a collaboration with
Mark McLaughlin and myself. He looked at my outline and storyline and character development
sheets and said, ―I think this is much too personal of a book for me to be involved in.‖ So I planned
on writing the book on my own, after finishing up a different novel, a vampire book called Liquid
Diet.
For Monster, I had the idea of an average person taking on the Goliath-like insurance companies
and lawyers. I was influenced by Richard Laymon‘s everyday-type characters who are thrown into
weird situations as in such books as Night In The Lonesome October, Bite and The Traveling Vampire Show.
At that time, I was also working on which would become my first published book, Giants Of The
Genre – a collection of interviews. What I decided to do was interview my fictional character, Jeremy
Carmichael. I asked a series of questions and wrote down his answers. Believe it not, I still have that
Q&A in my file cabinet. Anyway, that was the beginning of Monster Behind The Wheel. I showed this
to Mark and he read it and said, ―If you can do the same thing with the villain, Frank Edmondson,
than you have the beginnings of a great novel.‖ Good advice!
I integrated some of my own personal experiences into Jeremy's history – we both were pizza
delivery drivers in college (and both went to a community college), we both have been involved in a
major automobile accident (his was worse), and we both had to fight insurance companies.
Mark was doing a bit of editing on Liquid Diet, so as we worked together more, he soon changed his
mind and agreed to become my co-author for Monster Behind The Wheel. As he became more and
more involved in writing the book, he made Jeremy even more likeable. He added a lot of humor to
the character (which was sadly missing). Being a former stand-up comedian, I couldn‘t let him get all
the laughs, so I had to start writing funny passages, too – which is the reason I think the book
turned out great. Mark started his work on the end chapters, since I'd already done a lot of work on
the beginning, and we sort of met in the middle!
Jeremy‘s voice as a character was a voice I really enjoyed writing and eventually Mark and I will
write a sequel – or two!
It seems that you – like me – have a genuine love for the horror genre, which, of course, always helps when you write
within the same genre. What first prompted your interest in the macabre?
Two events that happened around the same time during my childhood – my mom bought
me a copy of Famous Monsters of Filmland Magazine (issue No. 107 with West World on the cover) and I
discovered Acri Creature Feature on Saturday nights. I remember the first one I saw, the ‗60s black-
and-white thriller, Carnival Of Souls.
I had been reading science fiction long before horror. The first horror books I read were by Stephen
King and Dean Koontz, both whom I still enjoy reading after all these years.
To me, your book, Modern Mythmakers, is like a template for writing the perfect interview book. It takes a real
talent to know how to talk to people the way you do. Who was the first person you interviewed? Were you nervous?
My first interview was in the sixth grade with my fifth grade teacher, Mrs. Stonebraker – I
had the biggest crush on her (I mention the crush. and the interview, in Modern Mythmakers).
Strangely, I wasn‘t nervous, because I had a job to do – the interview for the school newspaper. I
had a defined role, so it kept me focused.
My first genre interview was in 1989, right after I graduated from college. I'd moved up to
Chicago and at one point, interviewed science fiction legend Frederik Pohl at his home. I even sat in
his office, where he let me hold his one of Hugo Awards in my hands – that was a thrill. I sold the
interview to Starlog Magazine and became a nationally published freelance writer overnight.
I am rarely nervous doing interviews because I am so prepared. The last time I had
butterflies in my stomach during an interview was with Peter Straub. But he is an incredibly nice guy
and about halfway through the interview, I felt at ease with him.
My first interview was with Herschell Gordon Lewis, and he couldn‘t have been a nicer guy; not at all like you would
picture someone who {proudly} bears the moniker ‗‘The Godfather of Gore.‘‘ You've interviewed him, too. What was
your first impression of him?
Your first interview was with H.G. Lewis? Cool.
He was the final interview I did for Modern Mythmakers. He is a busy guy and when Mark McLaughlin
and I interviewed him, he was in his early ‗90s. Because he was a former public relations man and in
show business for such a long time, it was an easy and fun interview to do, and he's a nice guy to
boot.
How did you meet scream queen Linnea Quigley?

I interviewed Linnea Quigley for my book, More Giants Of The Genre. Shortly after that, the
Cemetery Dance anthology Midnight Premiere featured short fiction by horror actors and actresses. I‘m
not a horror performer, but Linnea Quigley is – she has appeared in such films as Return Of The
Living Dead, Hollywood Chainsaw Hookers, Night Of The Demons, Sorority Babes In The Slimeball Bowl-A-
Rama, and Silent Night, Deadly Night (I have a warm spot in my heart, or elsewhere, for her Best
Impaled-on-Antlers Performance in that film).
I met Linnea while she was filming the movie Unaware in Gelena, Illinois, and hit her up
with a story idea. She gave me a lot of innovative input and later we bounced more thoughts back
and forth over the phone and emails. The resulting story, ―The Wizard Of Ooze," was published in
Midnight Premiere and also reprinted in Little Creatures. I am interviewing Linnea again for my
upcoming book, Masters Of Imagination for McFarland & Company.
Linnea and I are talking about doing a vampire novel together.
Back to you, now. You are apparently an avid reader – when you can find the time, that is – and I was just curious:
what kind of books would I find on your bookshelf? I mean, you never can tell. I write horror myself, but, sometimes I
read Dave Barry or Elmore Leonard.
Oh I read Dave Barry and Elmore Leonard, too. I have eclectic tastes. I like reading science
fiction, horror, mysteries and even – gasp! – the classics (the horror! The horror!). In college, I read
Shakespeare, Hemingway, Twain and lots of other literary dead guys. I managed to cram those
classics in my brain between trying to score with coeds and getting drunk until I puked – until one
day, unbeknownst to me, I earned a Bachelor of Arts in English and Journalism. All that effort, so I
could someday write books about haunted muscle cars, rock stars going back in time to save the
world and horny vampires. My family is so proud (laughs).
For non-genre writers, I really like Carl Hiaasen, Tom Robbins, Steve Martin (―Well,
excuuuuuuuuse me!‖), Leslie Langtry (her books mix mystery, romance and humor and are always a
great read), Cormac McCarthy (his book The Road has been influential on the sci-fi novel Mark
McLaughlin and I are currently writing), Vicki Hendricks (she writes hot mysteries), Jane Smiley
(been a fan of hers for a long time), Alice Sebold (I've liked everything she has written so far), and
occasionally if I have time, Dickens, Poe or Melville – because I still love the classics.
I have always enjoyed your literary collaborations with Terrie Leigh Relf. You two work well together. How did you
two meet up?
I really enjoy writing with Terrie Leigh Relf. She is such a fun person to write with. Terrie
is the editor of Hungur, a vampire magazine published by Sam‘s Dot Publishing. We met a couple
years ago, when I submitted the story ―Lucania‖ (which was co-written with Sandy DeLuca and is
going to be reprinted in A Little Help From My Fiends). Terrie and I hit it off right away. So far, I have
been published in Hungur about five times and once in Drabbler (which Terrie also edits). Terrie and I
wrote the haunted love story ―Rhiannon‖ for Little Creatures. We‘ve written three collaborations for
A Little Help From My Fiends: ―Moved To Mars – No Forwarding Address,‖ ―The Hunter‘s Moon‖ and
―Help Wanted.‖
Terrie and I also have a couple of short stories together in my new collection A Hell of A
Job. She is a sweet person to work with, I am sure we‘ll do another project in the future.
I know this question may cover a lot of ground, but here goes: Just how many collaborations have you been involved
in? Should I break out the coffee and cigarettes for this one?
I think I might be a literary slut – because I write with so many people (laughs).
For books, I have only written with Mark McLaughlin and Connie Corcoran Wilson. Currently I am
working on a YA science fiction book Sherry Decker … so that's three. I am also thinking of
working on future projects with Michael Louis Calvillo, Terrie Leigh Relf and Cindy (Hulting)
McCarty.
I like to work with my wife Cindy (Hulting) McCarty because I don‘t leave my office
(laughs).
And then I have an upcoming novella co-written with Joe McKinney called Lost Girl Of The
Lake that is scheduled to come out from Bad Moon Books sometime in late 2011.
For the story collections, there are a lot: For Dark Duets, I worked with P.D. Cacek, Michael
Romkey, Charlee Jacob, Jeffrey Thomas, Mark McLaughlin, Cindy (Hulting) McCarty, Teri Jacobs,
R.L. Fox, Cristopher DeRose and Sandy DeLuca).
For Little Creatures, I worked with Mark McLaughlin, Linnea Quigley, Sherry Decker, Cindy Hulting,
Terrie Leigh Relf, Scott Morschhauser, Sandy DeLuca, Connie Corcoran Wilson, Teri Jacobs and
R.L. Fox.
For A Little Help From My Fiends, I worked with Mark McLaughlin, Sandy DeLuca, Cindy (Hulting)
McCarty, Sherry Decker, Michael Louis Calvillo, Terrie Leigh Relf, Benjamin Szumskyj, Charlee
Jacob, R.L. Fox, Ken Lillie-Paetz, Dave Miller, Jason Tanamor and Cristopher DeRose.
For my latest A Hell of A Job, the usual suspects – Mark McLaughlin, Charlee Jacob, Jeffrey Thomas,
Sandy DeLuca, Cristopher DeRose, Teri Jacobs, Terrie Leigh Relf and my wife Cindy McCarty.
I should add, Mark and I also wrote a chapbook of collaborative stories, All Things Dark and Hideous,
for Rainfall Books in England. And are talking about doing another short story collection together.
I work with a lot of the same people – we're all close friends, so it is like one demented extended
family.
Ok, here‘s another one that may take awhile: What is your favorite film or book? Should I break out the java and
smokes again?
There just isn‘t enough room to answer that question (laughs).My list would be endless, but
I have interviewed many great people in horror and science fiction in my books, so pick up copies of
Giants Of The Genre, More Giants Of The Genre, Modern Mythmakers, Estoteria-Land and Masters Of
Imagination (when that book comes out).
How about your good friend and collaborator, Mark McLaughlin? How did you two meet up? You two are like the
Stephen King and Peter Straub of the small press.
Thank you for the kind words again. Mark and I are from the same area, so eventually
we‘d run into each other and it was inevitable that we would become friends. I used to write for
Mark‘s old magazine, The Urbanite – I think I appeared in two or three issues. I once interviewed
Mark at a local writers‘ conference for Scavenger‘s Newsletter, a writers' market magazine that used to
specialize in genre publications.
After we became friends, I asked Mark to edit my book Liquid Diet. Then we wrote some short
stories together. Then I convinced Mark to collaborate with me on Monster Behind The Wheel – which
was the best thing that has happened to me in my 25 years as a professional writer.
What is on the horizon for Mike right now? Other than taking a well-deserved vacation, that is.
In 2008 I was fortunate to have numerous publishers release my work. The end results
were this: All Things Dark & Hideous, a short story collection, co-written with Mark McLaughlin and
published by Rainfall Books, U.K.; Little Creatures, a short story collection from Sam‘s Dot
Publishing; Modern Mythmakers, an interview book from McFarland; Ghostly Tales Of Route 66, true
ghost stories co-written with Connie Corcoran Wilson, from Quixote Press; Monster Behind The
Wheel, a novel from Corrosion Press/Delirium Books, co-written with Mark McLaughlin; Out Of
Time, a novel from Lachesis Publishing, Canada, co-written with Connie Corcoran Wilson; and
Attack Of The Two-Headed Poetry Monster, a poetry collection co-written with Mark McLaughlin, from
Skullvines Press. Whew! I'm tired just saying all those titles. I knew that in 2008, I‘d spend my time
editing and promoting those books and doing signings, interviews, yadda, yadda, yadda! What I
wasn‘t planning on, was that in 2008,
In 2009 Liquid Diet, a vampire satire novel from Black Death/Demonic Clown Books; A
Little Help From My Fiends, a short story collection from Sam‘s Dot Publishing; and Esoteria-Land, a
book of interviews, reviews and articles – over 75 of them – for Bear Manor Media and Professor
LaGungo‘s Delirious Download of Digital Deviltry & Doom (co-written with Mark McLaughlin) and
available at horror-mall for only $1.49 as a digital download – cheaper than a Big Mac.
As for 2010 I have the kid‘s book Rusty The Robot‘s Holiday Adventures co-written Sherry
Decker for Sam‘s Dot Publishing, Professor LaGungo‘s Classroom of Horrors for Bucket O‘ Blood Books,
I Kissed A Ghoul, a novella from Skullvines Press (which is my tribute to Richard Laymon), Monster
Behind The Wheel as a trade paperback for Medallion Press. And my sequel to Liquid Diet for Black
Death Books and Masters of Imagination for McFarland & Company.
I plan to write only two books for 2011 – but I already have Lost Girl Of The Lake co-written
with Joe McKinney coming out from Bad Moon Moons, so there will probably be more. Maybe I'm
just slowing down in my old age (laughs).
Anything to say before you leave us?

Buy my books – I have over 15 to choice from! I‘d like to leave you with this excerpt from
I Kissed A Ghoul:
They stood outside a side entrance of the Freak Tent, the floodlight making monsters out of
people's shadows. One light had been aimed directly at the hand-drawn poster of a werewolf,
crimson blood dripping from yellow fangs and claws, the caption shimmering in the glare:
REAL-LIFE WEREWOLF!
Paula shook her head. She thought, did I let Tommy see me naked for this?
Not fair.
A passionless barker stood on an upturned bucket next to the opening of the tent, a microphone
in hand, trying to entice the gawking crowd. "Come one! Come all! Come see the real-life werewolf.
More frightening than the beast in An American Werewolf In London or In Paris too. More scary than all
seven Howling movies combined!" Yawn. "Show starts in a few minutes. Tickets are going fast! Get
yours now!"
Paula looked at the werewolf's painted eyes and tugged Tommy's arm. "Let's go inside."
"I don't know," Tommy said, shifting from side to side nervously. "It's probably some flea-bitten
mutt or something."
The barker turned and smiled. "Ain't no dog in there, boy. Come on, now. Take the little
lady to the show." His voice boomed through the speakers. "You ain't scared already, are you?"
―Scared of a fake werewolf? Hell, no!" Tommy answered quickly. "Come on." But Paula was
already standing next to the barker, dancing lightly on her toes.
Joe Richie
It was a long road to the penthouse in Santa Monica Canyon from Rockaway, Long Island, where Joe Richards was
abandoned as a baby into St. John's Home, an orphanage, where he grew up never knowing a family. Joe craved love
and approval, but could only get it from strangers. So he began entertaining people. For most of his life, Joe struggled
with extraordinary obstacles. He finally hit bottom in the early 80's, fighting addictions and torn apart by internal
conflict and loneliness. His outlook was very bleak.
Then, in 1985, Joe was touched by grace when, with the help of a private investigator, he found his mother that he had
never known. He overcame his anger and resentment and forgave her. Unexpectedly, he also discovered that this
forgiveness brought healing throughout his own life and he found a deeper love within himself. Soon new opportunities
opened and Joe found himself working as a celebrity double for Jack Nicholson. Their resemblance is amazing and still
increasing. Joe also met Jack Nicholson in 1985 at a VA hospital where Joe ran the grounds. Jack was filming
"Crossing Guard" Coincidentally, at that time, Joe was performing the lead in the play "Cookoos Nest." Jack
autographed a photo for Joe Richards. Since then, Joe has appeared in film and video and been hired to attend many
events as Jack. He recently acted in the film, Velocity, playing the older version of a wild nineteen year old race car
driver, played by Jack in 1964. Wonderful adventures are unfolding as Joe's sense of purpose grows and his warmth
embraces life more fully.
Inspired to express the mysteries of life, Joe joined forces with the writer and filmmaker, John Schindler, to develop a
movie entitled "Jack's Are Wild." The story dramatizes Joe's journey towards completion. Joe's greatest dream for the
film is to appear opposite Jack Nicholson as one of two twins brothers separated at birth. Could he be so lucky? Joe's
philosophy in life is simply this, "your success in life is demonstrated by your ability to serve your fellow man." Joe's
long and winding path shows that miracles can happen and it's never too late for dreams to come true.
***
Iron Dave Interview
With
Joe Richie
Greetings and salutations, Joe. How was your Thanksgiving?

Fine, thanks for asking.
Being a big fan of Jack Nicholson, it‘s a real pleasure to have you here. I understand you once met him at a VA
hospital. Tell me about it.
He was shooting the film ‗‘Man Trouble‘‘ at the VA in West L.A. I was the grounds
Supervisor at the time. He smokes cigarettes, and all of the buildings were ‗‘No Smoking.‘‘ The fire
Marshal { my personal friend } needed to be there. I was doing ‗‘One Flew Over The Cuckoos Nest‘‘ at
Santa Monica College at that time 1991. He signed my headshot
{ very hard to get } and promised to get to TRY to get to my show. { He was a no-show, but that‘s
ok, I still love the guy }. He pays the bills. LOL!
I see you appeared in the stage production of the Cuckoos Nest. Did you take over the role that Jack played in the
original?
Yes I did! But I played it bigger as I thought the author Ken Kesey and my Director liked it
better. I was bigger { voice projection, mainly } than our character Randall Patrick McMurphy. Have
you ever read the book? What a read! This movie was passed around the studios. The original play
was done by Kirk Douglas on Broadway. He bought the film rights and Hollywood didn‘t want the
film to feature the brutality that Ken Kesey saw in Willamette Valley Hospital lock-up. Finally, the
script was changed to what it is now
{ although Ken Kesey refuses to allow his name on it}.
I have seen clips of you in ‗‘Jack mode,‘‘ and you couldn‘t tell the both of apart unless you were real ‗‘up close and
personal.‘‘ Have you ever been approached for an autograph by someone who thinks you really are Jack?
Oh yes, it happens all the time. Especially after he won the Oscar. I am Jack‘s ‗‘emissary.‘‘
Tell me a little about your film ‗‘Jacks Are Wild.‘‘ Can you fill me in on any of the details without giving away any
spoilers?
Twin brothers are born joined at the hip, and separated at birth. Their mother died during
the operation, and they never knew the other existed. One baby is adopted and goes on to great
success as a movie star, The other is abandoned into an orphanage, and then in prison. They feel
each other‘s pain and know that a part of them is missing. When Jack Winters is filming at a V.A.
hospital and sees his ‗‘twin brother,‘‘ for the first time he begins a journey into his dark side from
which he may never return.
Sounds great! Hey, I heard you even hosted a party for Prince Edward. What was THAT all about?
It was at Paramount Studios in Hollywood, California. It was a big bash and there were
plenty of the biggest Hollywood figures; Sherry Lansing, Dennis Hopper, Chuck Heston
{he said to call him ‗‘Chuck‘‘} a true patriot of the arts. Marty Landau was there also. Along with a
few other look-alikes, too. I was talking to the Prince and he really thought I was Jack. The secret
service finally told him I was not the real Jack, and he blushed in awe. He and his first lady were truly
impressed.
How did Jay Leno react to your portrayal of Jack? I can just see the look on his face now…
I got through the main gate but never got on the show. I was back-stage when a producer
noticed the package on my producer‘s belt. It was a hidden camera. He mistook it for a weapon and
called security. Afterward, though, everyone { especially security } was laughing and having fun.
I bet! Your website features a couple of poems – or are they songs? – written by you, and are very poignant, to say the
least. I especially liked the one entitled ‗‘ To The End Of War.‘‘ Are you a veteran?
Yes, I am USMC Recon. All my poetry has a melody line. I sing and act out each song, too. I
live again when I sing my songs. People who listen are overwhelmed { sorta like Prince Edward felt
}.
Thank you, Joe, for serving your country. You know, you strike me as the type – despite a lot of hard obstacles in your
life – has become a better man for having endured them. Your own quote ‗‘ Your success in life is demonstrated by
your ability to help your fellow man,‘‘ is very inspiring indeed. Is this the code you live by?
That quote is from Yogananda‘s book, ‗‘The Secret Of Success.‘‘ Yes…being of service is the
best way to a fruitful life. All the pain goes away and a warm feeling fills my once-broken heart. I
also do a lot of charity work for worthy causes. I fill my day with gratitude and thanksgiving.
What‘s on the horizon for Jack…I mean, uh, Joe, right now?
I just finished a Carrie Underwood Christmas special as ‗‘Jack,‘‘ It was filmed for CBS and
will be aired in mid-December. I‘ve also been booked at Universal Studio‘s The Globe as ‗‘Jack.‘‘ Joe
will be going to Hawaii after the holidays with his brother.
Any last words before you leave us?

I always wanted to be all that I can be. I was the best thief, the best liar, and the best cheater.
I‘m older now, and all of the frustration and anger are long gone. When I go to sleep now I crawl
into God‘s lap. No more nightmares! I give myself a gold star instead.
Amen, brother. Amen.
Stephen Jay
Stephen Jay is a composer, bassist, vocalist, and multi-instrumentalist. His original music is bass-driven, innovative,
exotic funk, blending world influenced polyrhythmic grooves with elements of Jazz and Rock. His combinations of
ethnic and modern instruments and styles result in unique, richly textured musical images.
Stephen's bass recording credits include 3 Grammy winners and 9 Grammy nominated albums. He is the credited
bassist on 9 Gold and 5 Platinum albums (RIAA). Stephen specializes in combining ethnic and modern instruments
to create a blend of the exotic and contemporary. His world music experience includes live performance and studies
throughout West Africa and Southeast Asia. From his field recording of world music Stephen produced 2 albums for
the Nonesuch Explorer Series. He has scored more than seventy nationally broadcast PBS specials and series episodes,
including three George Foster Peabody Award winners, and contributed to TV and feature films. His background
includes a BA and MM Graduate Fellowship in composition, and studies with composers John Cage, Lucas Foss,
Max Neuhaus and Charles Wuronien. Stephen's past work includes performing and recording with Wayne Shorter,
Hugh Masekela, Alex Acuna, Luis Conte, Isah Hamani, Joe Higgs, Betty Buckley, Jimmy Haskell and others. He
is an original and continuing member of "Weird Al" Yankovic's band. Stephen's bass and drum duo, "Ak &
Zuie" has toured the US, Canada, and Australia, and has appeared on PBS.
***
David Byron Interview
With
Stephen Jay
Hey, Stephen. How's life treating you?

Just great, How‘s by you?
Just peachy. First of all, let me get this out of the way, and ask you about your association with Weird Al. How did
you two meet up?
In 1981 Al was forming a band to do a show at the Roxy. I saw his ad for a bass player,
went to the audition and we hit it off. The show at the Roxy never happened, but we went on to
form the band. At that point Al already had a hit with ―Another One Rides the Bus‖, so we were
off and running.
When you and Al work together, your musical style surely must be at least a tad bit different than your usual style.
Or, do you still incorporate some of your own individual style into your work with him?
The most delicate nuances and subtle details of my bass parts are inevitably personalized, the
originals more so than the parodies. But of course our aim is to render parts highly reminiscent of
those on the original tracks that we parody. To do that involves realizing the styles and feels of the
original tracks to the ―Nth‖ degree. A player‘s individual style, level of facility, their motivation, and
the particular brands of instruments used on the original recording are all important to achieve that
end.
Sometimes a band may record their hit song before they‘ve had a chance to actually perfect their
performance of it through the practice that comes with touring. In those cases I look for the
unexpected little things that came together in a part to make it work for the recording. Those details
may have only happened once. That is in the original recording. Little things like resonances from
un-muted strings, uneven attacks, details of phrasing, slightly out of tune notes, and the like are the
details which when duplicated can really remind a listener of the original recording and not just the
song itself. It‘s a bit like looking at a photograph, a moment in time, and trying to recreate it. All of
this is actually quite liberating and enhances my original musical explorations.
The joys of genre hopping and fully engaging myself in attempting to feel as the original bass player
felt during his or her performance is the most rewarding part. Although Al‘s lyrics are very funny,
we in the band take the music as seriously as the original artists we parody. That‘s what makes the
music the ―straight man‖, and keeps it sounding as though the music never gets the joke. The
interval between Al‘s comedy and the music‘s seriousness creates a powerful comic absurdity.
Speaking of your musical style or preference, you strike me as the type of guy who'd be into Pink Floyd. Could I be
correct in my assumption?
Yes you certainly are right about that. I enjoy their music quite a lot, but I actually came to
know of Pink Floyd way after the fact. I was living in West Africa studying drumming during the
years that Pink Floyd emerged on the scene completely missing the phenomenon. When I moved
back to the states there was a lot to catch up on in terms of what had been evolving musically.
Your own musical style has been described as ''exotic funk,'' and ''pop underground.'' Would you say that is an
accurate description?
Yes I think that works, but it‘s strange to say since my greatest efforts go into trying to create
music that reminds one of nothing else. I feel pulled towards the new and indescribable, towards
discovery and exploration, and for some reason beyond my understanding I am repulsed by
formulas of any kind when it comes to my own original music. I think that I am here to find
something new. Simple as that.
Being a multi-instrumentalist, do you normally cover all instruments on your solo CDs?
No, I‘d guess I only play 60 percent of the parts. I use other musicians sometimes even on
instruments that I do play to flesh things out and widen the perspective as needed. One instrument
I never play is the drum set. I play a lot of percussion instruments but not the drums, no
independence here. My long time musical brother Pete Gallagher has played drums on most of my
CD‘s and my son Ian Jay plays drums and percussion on many of my songs as well.
Tell me a little about Ak and Zuie, your drum and bass duo. That sounds more than just a tad bit interesting....
It sure is! We attempt to split the funk atom. Pete Gallagher and I have been playing
together since long before the earth‘s cool crusted over. We‘ve been the rhythm section in dozens
of bands and backing all kinds of solo artists in many parts of the world. A long time ago we
noticed how the best of what we do as a rhythm section is usually iced over by the ―cheese‖ so as to
be all but inaudible in the finished mixes. All of the silence in the nooks and crannies of a rhythm
texture get filled up by the midrange instruments and you are left with a rhythm section with masked
highs that sounds like muffled woofs. That‘s the normal sound in big arrangements.
But when you take all of the other stuff away the rhythm section is a completely different animal.
Like a canyon landscape before it has been dammed up and filled with water. The musical
possibilities are tremendous when you have only one pitched instrument accompanied by one of
indefinite pitch. Like so many famous ensembles of that kind from Ravi Shankar and Allah Rakka
to the White Stripes, we are able to turn on a dime and bring the most subtle exponentially conical
grooves to an audience. We love to explore oblong grooves and layered time signatures that flex
outside consensus and quantization. That‘s very hard to do in a traditional band where players need
to know where ―one‖ is. We‘d rather not know.
Ak & Zuie was born at a gig in Borneo. Pete and I were there on tour with an umpteen piece band
and on one occasion the promoter flew us all to a remote logging camp in the Sandakan Province of
Borneo. This was where he had grown up and he wanted us to play a full show there as a gift to his
childhood community. The interesting thing was that there had never been a performance of live
amplified music there, ever. The show went great and the audience went much crazier than nuts!
But the best part was the rhythm section sound check before the show. The first thing the people
heard was Pete and I jamming out the high energy polymetric funk. They went unexpectedly
ballistic at the sound of it. Literally dancing with their goats they burst into the most spectacular
sound induced celebration we‘d ever seen. It was all they needed and it went on for quite a while.
During that time Pete and I realized the value of performing as a rhythm section alone and decided
to never stop. We named the duo after a good friend of mine in Ghana named Akin Zuie.
What are some of the Grammy-award winning projects you've worked on?
These were all albums and singles by Weird Al.
Having scored more than 70 PBS TV specials, has it ever crossed your mind to get into more TV work? Maybe
scoring feature films?
Oh yes, I love scoring and in fact I‘ve just completed the score for a great new feature length
documentary on human rights in West Africa. Over the years I‘ve contributed original music to
some features and would love to do more. Scoring is wonderful cross training for touring. Being in
the studio and playing lots of parts by yourself for months on end when scoring a film makes going
out and playing one instrument for a live audience quite fun. It uses different muscles, and as I said,
it works like cross training for athletes.
Have you ever met any of your favorite musical artists in person?
Meeting Herbie Hancock was absolutely wonderful. What a human being he is! Once I was
playing at a Rock festival with a moderately successful high school rock band, and found myself
backstage standing next to Jimi Hendrix. That was a profound moment. Joe Higgs, the father of
Reggae was perhaps my best teacher. As his bassist for 5 or 6 years I became immersed in his
musical universe, for which I am eternally grateful.
Who would you say were your biggest influences in music? And don't say, ''Weird Al.'' {Laughs}.
My mother, Delphine Jay, Igor Stravinsky, Sly Stone, Bela Bartok, Keith Richards, and Eric
Satie for starters.
What's on the horizon for Stephen right now?

Currently working on the new Weird Al CD coming out and we‘ll be touring for that in
2010. I‘ll also be scoring more films, writing and recording music for more original CD‘s, and
playing shows with Ak & Zuie.

Just to thank you for asking me about these things. I‘m honored.
Herschell Gordon Lewis
Lewis served as producer only on his first film venture, The Prime Time (1960), which was the first feature film
produced in Chicago since the late 1910s. He would assume directing duties on nearly all of his films from then on.
His first in a lengthy series of collaborations with exploitation producer David F. Friedman, Living Venus (1961),
was a fictitious account based on the story of Hugh Hefner and the beginnings of Playboy.
The two continued with a series of erotic films in the early 1960s. These films marked the beginning of a deliberate
approach to filmmaking which each respective party would continue through their production careers- films made solely
with the intention of turning a profit. Typical of these nudies were the screwball comedies B-O-I-N-G! (1963) and
The Adventures of Lucky Pierre (1961), a film made for a shoestring budget of $7,500 which would become the
duo's first great financial success. Because film restrictions had not yet allowed for sexual depictions in films, the bulk
of Lewis and Friedman's early work consisted of nudist camp features like Goldilocks and The Three Bares
(1963), which appropriately billed itself as "the first (and to date the only) nudist musical".
With the nudie market beginning to wane, Lewis and Friedman entered into uncharted territory with 1963's seminal
Blood Feast, considered by most critics to be the first "gore" film. Because of the unprecedented nature of this type of
film, they were able to cater to the drive-in theater market which would have been inaccessible with their prior skin
flicks. Two Thousand Maniacs! (1964) and Color Me Blood Red (1965) followed the same formula. The
full-color gore on display in these films caused a sensation, with horror film-makers throughout the world becoming
eager to saturate their productions with similarly shocking visual effects.
Lewis stopped working with Friedman after making Color Me Blood Red (1965), but continued to make further
gore films into the 1970s. His next gore entry wouldn't come until 1967, with A Taste of Blood, often referred to
as the "Gone with the Wind of Gore" due to its relatively lengthy running time of nearly two hours. The following year
would bring a more extreme take on the genre, The Gruesome Twosome (1967), most notable for incorporating
an electric knife used to scalp one of the victims. Lewis's third gore phase served to push the genre into even more
outrageous shock territory. The Wizard of Gore (1970) featured a stage magician who would mutilate his
volunteers severely through a series of merciless routines. By 1973, Lewis had taken the gore approach to such a limit
that it began to lampoon itself, which is why The Gore Gore Girls (featuring an appearance by Henny Youngman
as the owner of a topless club) would mark his semi-retirement from film altogether. He decided to leave the industry to
work in copywriting and direct marketing, a subject on which he published several books in the 1980s. He returned to
directing in 2002 with the straight-to-video Blood Feast 2: All U Can Eat.
Always resourceful despite the low budgets he worked with, Lewis purchased the rights to an unfinished film and
completed it himself, re-titling the film Monster A Go-Go (1965). Many years later, the film gained notoriety after
being shown on the Mystery Science Theater 3000 television show. Lewis would repeat this formula when he
acquired a gritty psychological piece called The Vortex and released it as Stick It In Your Ear (1970) to be shown
as a second feature to The Wizard of Gore. This approach demonstrated Lewis's business savvy; by owning the
rights to both features, he knew he would not get fleeced by theaters juggling the box office returns, a common practice at
that time.
Outside his notorious gore canon, Lewis pursued a wide gamut of other exploitation avenues throughout the sixties.
Some of the more taboo subjects he explored include juvenile delinquency (Just For The Hell Of It, 1968), wife
swapping (Suburban Roulette, 1968), the corruption of the music industry (Blast-Off Girls, 1967), and birth
control (The Girl, The Body and The Pill, 1967). He was also not above tapping the children's market, as with
Jimmy the Boy Wonder (1966) and The Magic Land of Mother Goose (1967), which were padded out to
feature film length by incorporating long foreign-made cartoons.
Towards the end of the sixties, Lewis would return to the world of sexploitation, with regulations now being
considerably more lax. Those films quickly vanished into obscurity: Lewis' 1972 film Black Love, apparently an
erotic film with an all African American cast, has completely disappeared. Also reportedly gone forever are a pair of
nudies, Ecstasies of Women (1969) and Linda and Abilene (1969), a lesbian western which remains notorious
for having been shot on the Spahn Ranch only months before it became inhabited by the Manson Family. Year Of
The Yahoo! (1972) was also believed lost, though a largely complete print is now available on DVD as a double
feature with the semi-gory ode to moonshine, This Stuff'll Kill Ya! (1971).
***
Iron Dave Interview
With
Herschell Gordon Lewis
Good morning, H.G. How are you on this chilly October morning?
I‘m in Florida, so ―chilly‖ would mean it‘s below 70 degrees … which it isn‘t. We‘re in the
80s today. That contributes to a placid state of mind.
First of all, let me say congrats on The Uh Oh Show. What was the inspiration for that one, pray tell? Or...should
I fear to ask? {Laughs}.
Two factors entered into this: The first was the unreality of reality TV shows, in which
nobody truly is penalized. The other was a notion I‘d been considering for some years, fairy tales
told the way a genuinely vicious storyteller would recite them. The two pieces blend nicely.
The term ''pioneer'' fits you well. As the real pioneer of gore films, did you ever imagine that so many filmmakers
would follow in your footsteps?
I had no notion I was starting a movement … nor did the motion picture industry in general.
For years I was regarded as a renegade, an outlaw, a ―He‘s one of those oddball‖ reject. Only when
others picked up the ball did I achieve legitimacy. But I had a benefit during that early period of
isolation: I had very little competition in what was gradually becoming an accepted genre.
Just out of curiosity, who was it exactly that dubbed you ''The Godfather of Gore?''
I think it was Joe Bob Briggs (John Bloom). But I‘m guessing and may be giving credit or
blame to the wrong person.
You, like your fellow filmmakers Lloyd Kaufman, Ted V. Mikels, and Fred Olen Ray, have sometimes been referred
to as an ''exploitation filmmaker.'' Do you feel you deserving of this moniker, or feel it was demeaning?
I see nothing demeaning in the term. Rather, I pity filmmakers who lack the capability of
exploiting their product. Any schmuck can aim a camera. Convincing someone who never heard of
you to think or say, ―I want to see that,‖ may be a minor talent but one too often lacking.
Who would you say were your early influences as far as film is concerned?
Impossible to say, because whoever it might have been has been lost in history. I had never
attended The Grand Guignol in Paris, a live show discontinued shortly after World War II.
References to it may have stimulated some thinking, as did ―gangster‖ movies in which the perp was
shot and then died peacefully and bloodlessly, eyes closed … which had me thinking, ―Hey, that‘s
not right.‖
Now, not to give away any of your ''trade secrets,'' but, is it true that the fake blood used in Blood Feast was actually
Kaopectate?!
Kaopectate was a principal ingredient. Mixed with gelatin and a coloring agent, that primitive
mixture was more blood-like than some of the effects I‘m seeing today.
Without trying to send out any negative vibes toward anyone in particular, what is your opinion of the new breed of
filmmakers working today? I mean, it seems to me as though a lot of them have lost grasp on what key elements are
necessary to produce a well-crafted horror film. One of them, of course, being a sense of humor.
We think alike. One reason so many ―horror‖ films are so derivative is that these producers
and directors plan their movies in a linear pattern, paralleling a television soap opera or an ongoing
series. If more of them had a ―Been there, done that‖ approach, we‘d open the gates wider. And
absolutely, in my opinion a sense of humor helps. That‘s generic to ―The Uh-Oh Show,‖ and
audience reaction will validate or disprove my point.
What would you say is YOUR favorite horror film? And NO, you cannot say ''Blood Feast.'' {Laughs}.
May I say, ―Two Thousand Maniacs‖? I don‘t have a recent release to name as a favorite.
Looking back on your career, would you say you are happy, content with the way your life turned out? No regrets?
Everyone has regrets. I regret never having had a respectable budget. I regret never having
had a highly-touted national release. But those regrets are abstract. I‘m happy, I‘m comfortable, I‘m
living where I choose to live, I still play tennis … and if the ratio is two percent regrets and ninety-
eight percent satisfaction I‘m far ahead of the pack.
What is on the horizon for you right now? Blood Feast part 3?!
I‘m trying to put together the production of ―Mr. Bruce and the Gore Machine.‖ If I can find an
adventurous producer, I‘ll leap into the director‘s chair.

Thanks for the attention. Neither the film industry nor I thought I‘d last this long.
Tom Savini
Pittsburgh born actor/SFX wizard/stuntman/director who did a tour of duty as a combat cameraman in Vietnam,
and who has since acquired a remarkable cult following amongst film fans, primarily due to his ground breaking SFX
in the "splatter movie" explosion of the early 1980s. Along with fellow special make-up legends Dick Smith and Rob
Bottin, Savini was one of the key SFX people behind the startling make-up & EFX seen in the fantasy / horror
genre films of the 1980/90s. Savini was heavily influenced by the remarkable silent era actor Lon Chaney, and he
sought to emulate the amazing theatrical make-up effects that were a hall mark of Chaney's career. In Savini's
insightful book "Grande Illusions", he speaks of his early first attempts at applying prosthetics to his face using
"spearmint gum", having misinterpreted that he was meant to actually use 'spirit gum'!
His first work was in low budget fare providing SFX & make up for independently made horror films such as
Deranged (1974) and Martin (1977). However, he really caught the attention of horror buffs with his grisly effects
in the cult George A. Romero directed zombie film Dawn of the Dead (1978), and then in the controversial
slasher film Friday the 13th (1980), the movie generally identified as the kick start for the aforementioned "splatter
movie" genre. Savini also contributed the incredible EFX & make-up to other splatter thrillers such as Maniac
(1980), The Burning (1981), Creepshow (1982) and Romero's third 'Dead' film, Day of the Dead (1985)
(for which he won a Saturn Award).
In 1990, Savini directed his feature film debut Night of the Living Dead (1990), the remake of the original
zombie-classic.
Not content with just being behind the lens, Savini has appeared in dozens of films, and can be seen demonstrating his
capable acting skills as 'Morgan, the Black Knight' in Knightriders (1981), as 'Blades', one of the biker gang
members in Dawn of the Dead (1978), and as 'Sex Machine', another leather clad biker, but this time with a
groin mounted gun in the wild vampire film From Dusk Till Dawn (1996).
***
Interview
With
Tom Savini
You worked in Vietnam as a combat photographer between 1969 and 1970. How did you end up there in the first
place?
Savini: "I enlisted to hopefully stay out of Vietnam. I enlisted so that I could choose the
training. If you're drafted, you're in the infantry, you're in front lines. But when you enlist you have a
choice of schools. I was already into photography: I had a dark room and I was processing color
film. I thought it'd be a breeze to just enlist as a photographer. I did learn a lot more about the
technical aspect of photography during my 13 weeks of basic training in the Army Photo School in
New York. When training was over, we all went into this big room and got our orders at Fort
Monmouth. One of my friends was going to Italy; another to Turkey; another to Germany. But my
papers said 'RVN'. I went to the sergeant and asked what it meant. He just said, 'Vietnam. Next!'. It
was a complete shock. I couldn't believe it. I'd enlisted to stay out of Vietnam, but I must have done
well at school, because they only send the best to the war!"
: Did your stomach drop?

Savini: "Yeah, but I wasn't going to back out of it and go to Canada or something, because
I'm a man of my word. If I tell you I'm going to do something, at a specific time, I'll do it. Unless
there's fire or blood, I'll be there at that specific time, doing it. And I'm disappointed when I don't
get that back. Anyway, I went to special training unit, for combat training. They put you in combat
situations: you're on a truck, you have a gun with blanks, blanks are being fired at you. It's to get you
in the mood for combat. They showed you horrible movies of gun or grenade victims, from World
War Two, Korea, wherever. But one of the best things that happened - and I'm using this in a
zombie horror movie which I'm going to direct, called Death Island - was that they took us out to a
secluded area. You would sit in bleachers - which are seats, like baseball seats - and teach you
something. One day, we just sat there for a long time, looking at the woods which were only about
50 yards away. Then a sergeant came out and spoke into a walkie talkie: 'Sergeant So-And-So, move
your men'. And the 35 soldiers in camouflage that had been standing there started to move. It scared
the fuck out of us, because they'd been standing there the whole time and we did not see them.
Camo works! It was a good lesson, but a scary one, because if they'd wanted us they could have had
us."
So we'll see camouflaged zombies in Death Island?

Savini: "The zombie are black African Americans with shaved heads, but they're covered in
mud, scars and dirt so they look camouflaged. In Death Island there'll be a scene where our hero and
heroine are standing in front of the woods, talking. When they walk away, the 18 zombies now come
to life. That'll build suspense, because now you'll never know when the zombies are going to come
out. To me, the best scares come from suspense."
Back to your army training…

Savini: "I was in San Francisco for a couple days before they shipped us over. I went to
headquarter camp there and it was like Platoon: dusty, dry and miserable. If you were picked, the
morning duty was take the shit from underneath the barracks and burn it. I never went to the
formation: I always hid, listening to see if my name was called, because I did not wanna have that
duty. And I never got that duty!"
What it was like when you first arrived in 'Nam?

Savini: "They shipped us there in a big Panama jet. I expected that we'd have to run for
cover from the jet, but no. This MP came onboard with pistols on either hip and escorted us off.
The place looked like a lovely resort, but that was only temporary. It was the base. There were thirty
or forty guys waiting to get on the jet, and they harassed us horribly, saying stuff like, 'You're gonna
die, you're gonna take my place, I hope you get shot'. These were the grunts. I said to myself, 'I
would never do that to somebody'. Then a year later, we did the exact same thing to the new guys
getting off the plane. I have no idea why: maybe it was just off-loading."
You've often said you had to turn off your emotions while in Vietnam. Was this because you've be chatting to
someone in the morning, only to photograph their dead body in the afternoon?
Savini: "No, it was never like that. But I'm sure it'd be like for the grunts out front. They'd
watch friends die, right in front of them. I didn't socialize with those guys: you were afraid to. When
those grunts came in to HQ camp, after being out in the field for a month, the look in their eyes
wasn't like Charlie Sheen in Platoon. It was like they'd seen a ghost, or seen their mother killed. The
look in their eyes was scary. They were in another place, in their own world of thought and misery."
Tell me something we've never heard before, about your time in Vietnam.
Savini: "One thing you've never seen in a Vietnam movie, which I'm gonna use some day -
don't steal it! - is the method used to dispose of the Viet Cong. We removed our men immediately,
but we would not remove the Viet Cong until maybe a day later, waiting for rigor mortis to set in. So
two guys would walk up to the Viet Cong body with cable wire or a rope. One wire went under the
head, the other under the feet. Because of rigor, you could then just pick the corpse up without
touching it."
So what happened directly after 'Nam?
Savini: "My next assignment was in Fort Bragg, which is the 82nd Airborne. It's a huge base
in Carolina. There were three live theatres there and I became the make-up director there when I got
out of the army. I had a very easy job - I replaced a sergeant in the craft shop. I taught people how
to process film and sold model airplane parts to officers who flew remote control airplanes at the
weekend. I was in civilian clothes, I could grow my hair as long as I wanted and I was in the army. I
lived off-base with my wife and they sent me my checks. It was a breeze, but I had paid my dues and
got special treatment. I stayed in that area for eight years after the army because of the theatres. I
was doing make-up, playing parts, choreographing shows. I went to Pittsburgh and auditioned at
theatre school. They accepted me into the acting-directing program and got me to teach. Two years
into that, I took a leave of absence to do Dawn Of The Dead."
How did you feel emotionally after the war?

Savini: "It was hard to turn my emotions on again. It killed my marriage and I don't blame
her, because I wasn't there. I also fell in love with her best friend. After holding back all this
emotion, when it finally came out it was like Niagra Falls. I fell madly in love with my wife's best
friend, which only lasted six months because it never should've happened. It was because the flush
of emotion coming out of me was overwhelming. I remember looking at a sunset, a year-and-a-half
later and crying my eyes out. I think that was the beginning of getting my emotions. Before Vietnam
I was this naïve, monster-loving kid, so I grew up fast."
Weren't you actually slated to do effects and make-up for the original Night Of The Living Dead at some point?
Savini: "Yeah. After I enlisted, George was gearing up to do Night Of The Living Dead. When
you enlist, you have 140 days, within which they will call you. So that's a long time: I figured I could
do the movie. But they called me sooner than George was ready. In fact, I think I was in Vietnam
when he shot."
How different might that movie have been without your involvement?
Savini: "Well, there would have been more illusion and more effects. (Reconsiders) Or
*would* there have been? In Night Of The Living Dead, Ben gets shot, people are grabbed… Well,
you would have seen some bites and zombies would have been killed in more interesting ways.
George lets actors improvise and does the same thing with special effects and stunt guys. That's the
whole point of saying, 'We've got another thing. Start thinking of different ways to kill people'. "On
Dawn of The Dead, I'd go to George and say, 'How about if we stick a screwdriver in a zombie's ear?
He'd think for a bit and he'd say, 'Okay'. Then two hours later we'd be creating the effect, taking
soda straws and painting them silver, then cutting off a screwdriver, making a collapsible one… but
it was our suggestion. That's the fun of it. It's one thing to take what's in the script, but the real fun
is in executing your own ideas. Sometimes the script is explicit, sometimes it's not. In the case of
Creepshow, with the creature under the stairs, the script simply said, 'We see a blur of fur and some
teeth'. That's all it said. So that was fun. Inventing how to do these effects. On Martin, the stick goes
into the guy's neck. George was going to take a close-up of a lamb's neck or something. I said, 'No
no, we can drive the stick right in the guy's neck!'. He said, 'Well how are you gonna do that?'. I said,
'Well I don't know. I'll figure it out!"
Was inventing gore effects a kind of therapy after the horrors of Vietnam?
Savini: "(Thinking to himself) Was it therapy? Maybe there were some joy… but no, I can't
honestly say that."
Did you feel a ghoulish glee in creating all these horrendous images?
Savini: "When I was younger, I was trying to emulate Frankenstein, the Wolfman or the
Mummy. I would go to school with half my eyebrows missing, or nose-putty in my hair. I made a
terrible mess, until I realized I didn't have to wear the make-up myself: I could put it on my friends.
I made them up as burn victims, or suicide cases with slit wrists and then they'd go home. Their
parents would scream the place down. 'Who did that to you? Savini? Well, you can't play with him
any more'. The gore aspect happened because that's what was presented to me. There was gore in
Martin, then in Dawn Of The Dead had massive gore and so did Friday The 13th. Producers who
wanted the same success as those movies would hire the same people."
You worked on 1981's The Prowler, aka Rosemary's Killer. You obviously like the film, as you appear on the
audio commentary of Blue Underground's Region 1 disc…
Savini: "There's some good stuff in The Prowler. The subject matter is good, with the guy
coming back from World War Two. I actually go back to that beach often, the beach that we shot at.
It's a gorgeous place called Cape May, with a lighthouse. The whole town is a historical landmark. I
go there to revisit where we shot - and of course to enjoy the beach. I discovered that place during
the making of the movie."
You also handled the excellent effects of The Burning, released the same year as The Prowler.
Savini: "The Burning was Miramax's first movie. You would think that they would release that
on DVD. I get a lot of requests. It's the Weinstein brothers: one wants to release it, the other
doesn't. I don't know who. Hopefully they'll release it, because look who's in it: Holly Hunter, Jason
Alexander, Fisher Stevens… and it's got my effects in it. You think they'd release it, with an audio
commentary."
Did you enjoy filming The Burning?

Savini: "The Burning was great fun. They call it a Friday The 13th rip-off, but it was actually
written before Friday The 13th. I had just done Friday The 13th, and it was The Burning that I chose to
do instead of Friday The 13th Part II. Because Part 2 had Jason in it, and I didn't believe that there
should be a Jason. I said, 'I just read your script and you've got Jason running around!'. They said,
'Oh no no, we're going to change that', and of course they didn't. It was just illogical to me that there
would be a Jason. But the audience has been trained to be stupid and has accepted the fact that
Jason exists. I even cut his head in half in Part IV and he's still there. I stopped watching the Friday
The 13th series after Part V, because in Part V even the fuckin' *ashtray* is Jason. His spirit kept
invading things (Editor's note: I think Tom's perhaps thinking of Jason Goes To Hell: The Final Friday
here). I saw a bit of Jason X after a showing of Resident Evil. I watched about 10 minutes of Jason X
and it was so stupid. But there'll be a Friday The 13th Part 13, I'm sure of it."
The Burning features one of the slasher genre's most vicious scenes: the raft slaughter. Was that problematic to
work on?
Savini: "No, it was close to shore. I loved doing that raft scene, because I had to figure out a
death for every person. I cut Fisher Stevens' fingers off, Ned Eisenburg was stabbed in the throat,
another guy's T-shirt just exploded with blood. It was Peckinpah-ish, in that like Friday The 13th: The
Final Chapter, everybody's death happened quickly. You got a subliminal glimpse of it. That was
great, leading up to Jason's death in The Final Chapter, because you expected the same thing. But we
dwelt on Jason's death, so it made his death more horrific and horrible. When he slides down that
machete through his head… we invented that. Actually, I invented the ending in both of those
Friday movies. They did not have an ending for Part One. I'd just seen Carrie, which scared the hell
out of us when the hand came out of the ground at the end. You thought the movie was over. The
music came on, which sounded like end credits. She's walking down the street and goes into the
graveyard. The hand coming up scared you. So I said we should do a Carrie ending: have her in the
boat, make it seem like the credits are going to roll, then bring Jason up. They said, 'But Jason's
dead!' and I said, 'No, it's a dream!'. Throughout history, if you know movies, you can get away with
anything, as long as you show it's a dream. Even if you show it's a dream before you show the stuff,
the audience will love it. They've used it endlessly on TV: there was a whole season of Dallas which
turned out to be a dream. And people accepted it! It's preposterously stupid, but they do! So I came
up with that ending, then they didn't have an ending for Part IV. One day, one of the guys from my
crew took the Dawn Of The Dead machete and put it on his head. I said, 'That's it! We'll smack him in
the head, then have him slide down the blade'. Then we worked out how to do it. You could do it
with CGI today, but of course back then you could only do it with a mechanical Jason.
"That's the thing about all my stuff: it's happening right in front of you. I get the CGI question a
lot and I love CGI when it's done well. It actually makes my job easier now, but you have to change
your mind-set when you're watching CGI. It's not like American Werewolf In London, where it's
happening right in front of you. You have to pretend it's happening and that's part of the collective
distaste for CGI. People don't *want* to have to make an effort. They don't want to pretend: they
wanna see it happen. I had a big problem watching Jurassic Park. To me, the dinosaurs weren't there.
Some guy at a computer was creating the dinosaurs. So I had to get stoned and tell myself that no
matter what I saw in the frame, it was really there. Then I enjoyed the hell out of it. So I'll have to go
and see King Kong stoned, in order to enjoy myself. Future generations won't have to do that: they'll
just accept it. But we grew up seeing things happen, right in front of us."
Friday The 13th: The Final Chapter had some of the series' most effective murders: my personal favorite is the
death of Axel the morgue attendant, whose head gets twisted 180 degrees…
Savini: "I was very proud of that. That was Bruce Mahler, a comedian. Crispin Glover was
crucified too and got the screwdriver in the hand and the meat cleaver in the face. That was going to
be the last movie, but it made so much money… Still, I got to kill Jason. Or so I thought…"
For many years in the UK, The Final Chapter was cut: Jason's machete death in particular was trimmed.
Savini: "Really? So how did they kill Jason then? They just cut to the kid beating him? So did
you know there was more, or did you just accept that as Jason's death?"
Most horror fans probably knew there was more, thanks to Fangoria or something. Let's talk about your effects
work on 1978's seminal Dawn Of The Dead, good sir.
Savini: "(Smiling) I ignored the effects on Dawn Of The Dead. I had just seen Star Wars and
spent most of my time creating a Darth Vader costume for myself. When I should have been
preparing Dawn Of The Dead, I was in my basement sculpting Darth Vader. I took my Vietnam
helmet to use as the Vader helmet. I had to be Darth Vader for Halloween and I couldn't buy the
costume anywhere, so I made my own. It was very heavy: in fact the whole face was a solid block of
foam. I had to carve the foam out to get it on my head. But I built the electrical belt with the lights,
the cape, the big boots… I *was* Darth Vader. I won every contest."
While you should have been working on a groundbreaking zombie flick? Tut tut.
Savini: "Yeah. I mean, occasionally I'd bring like Jim Krut in to cast his head for the
helicopter effect. Or build a rubber hammer or something. Because there really wasn't much to build
for Dawn Of The Dead. I already had a latex chest that could get torn apart for the intestines. I had
hammers and bullet hits. For the exploding head, I built one and blew it up with a shotgun. We did
cast Gaylen Ross' head, for the first ending, in which everybody dies. Gaylen Ross jumps into the
helicopter blades, Ken Foree shoots himself in the head. But George decided to have an up ending.
So I had Gaylen Ross' head, so I made it like a black man with an afro hairdo, then blew it off with a
shotgun."
So that head explosion was one of last things shot for Dawn?
Savini: "I don't know. I don't have a chronological memory. I know I did this stuff: I just
don't know when! In fact, when I wrote my books (Grande Illusions I & 2) I had to call Greg
Nicotero and ask, 'Did I do Monkey Shines before Texas Chainsaw 2?'."
How was working on Romero's next zombie flick, 1985's Day Of The Dead?
Savini: "It was two months of never seeing the sun, but it was great fun. Romero's films are a
family affair. We would do 'spit-takes' in the restaurant in the hotel: a spit-take is what happens
when your mouth is full, then someone cracks you up and you spit it all out. We would wait for
strangers to go by. My friend and I would be in the jacuzzi. We would purposefully wait for
strangers to get in the jacuzzi and have this conversation about how long we could hold our breath
for. I'd say I could hold my breath for half an hour, then go down and breath off the air jet that was
coming in. We'd be down there forever and the stranger would be freaking out, looking to call
somebody for help! But on top of all that fun we were making monsters and special effects. I won
an award for Day Of The Dead. I wasn't there in France when I won it and I don't even know what
it's called, but it was an award, anyway. That film is my masterpiece of splatter: my best work."
Did you like 2004's Dawn remake?

Savini: "It's not a remake, it's just more Dawn Of The Dead. A new Dawn! In the new one,
there were some terrific zombies, but they were all fast and ugly, so you didn't get to see much of
them. In the original, you saw specific zombies. I liked the new one, although the whole ending was
very confusing. I also tuned out on the whole 'fast zombie' thing, because I know what George's
philosophy is: they're dead and will continue to die, rot and wither. They don't gain superhuman
powers. But I have to like it, because I'm the sheriff on the TV screen. That was a great opportunity
and I get a lot from that."
Let's clear up the situation once for all, regarding Nightmares In A Damaged Brain. Your name is in the
credits as effects guy. How do you plead?
Savini: "Didn't do it. Not guilty. They put they name on the credits - surrounded by a box.
Not even Marlon Brando gets a box around his name! They put a box around my name, and I was
doing Creepshow at the time. I was aware of it and called them. They actually called me back and said,
'If we come down and show you the movie and you like it, can we leave your name on it?'. I said,
'No'. Then they offered to pay me $25,000! I said, 'No, I didn't do it. Just get my name off that
thing!'. I should have taken the money, because my name's still on it anyway."
What do you think of the movie?

Savini: "(Struggles to be diplomatic for a moment, then gives up) No… it's terrible. They did
put pieces of my tape over my name on the posters, in New York, but I had fans calling from drive-
in theatres, telling me my name was still on it. What could I do?"
You could have sued.
Savini: "Back then I could have, but I had no time. I was enormously busy on Creepshow and
couldn't do anything."
Now, we know you did 1980's wonderfully sleazy Maniac. How was that?
Savini: "I got no money for Maniac: I think it was 5000 dollars. But I had just finished
something in the area, which might have been The Prowler or The Burning. Bill Lustig came to the set
and said, 'We've got this movie with Joe Spinell from The Godfather'. For me, I just wanted to live in
New York for a month and two: and I did end up living there for two-and-a-half months. They took
care of me and I wound up doing all the effects, creating stuff from scratch, almost. There was no
prep time. "I was enamored with Joe Spinell, because he was in The Godfather and Rocky. But he
wanted to do things to women that I refused to create. He wanted to bite things off women…"
Private parts?
Savini: "I won‘t go into detail, but I said, 'No, we can't do that!'. But I got on with Joe
famously. He took me to the set of Nighthawks, that he was shooting at the time. He introduced me
to Sylvester Stallone. I don't drink, but I had to go to these bars with him, where he'd be drinking
and smoking and carrying on, telling jokes. I loved him, he was a great guy. The sad thing was, that
after Maniac, some interviewer was asking me about the movie. And I said the movie was trash. That
was something that Bill Lustig or Joe would have said. The subject matter was trash. Well, they
interpreted it as me saying that the *people* on the movie were trash and that I didn't like them.
And that rumour lasts even to today. People ask, 'How come you didn't like the picture?'. Joe Spinell
was later doing a Tales From The Darkside that I was directing. I walked past his dressing room and he
was mad as hell! 'Why are you saying these things about us?'. And I couldn't get him to believe me.
So that's why, on the Maniac audio commentary, I made a special point of explaining that whole
thing."
How did you take criticism of Texas Chainsaw Massacre 2, on which you handled effects?
Savini: "Criticism? That's one of the fan favorites. That's a cult classic: people love it. There
are phone-answering devices that speak like Chop-Top, saying, 'Lick ma plate, you dawg dick!'. You
can get that to answer your phone. That's some of my best work there, too. I got to create the new
Leatherface and the grandpa make-up. Tobe Hooper couldn't believe it. In Part One, they had this
cheap latex thing. This guy was like Dustin Hoffman in Little Big Man, so Tobe loved that. We got to
choose the actor who played grandpa, so we chose someone very skinny with sunken eyes. A
Vietnam vet, in fact, who still had agent orange damage behind his ear: wounds that would never
heal. We had to make him up around the wounds. I had a great time on that movie."
You also did one of my favorite action movies: Invasion USA with Chuck Norris and Richard Lynch.
Savini: "That was fun, it was in Florida. We shot in Miami, in Okiechobie, which has one of
the highest concentrations of AIDS in the country. And then Atlanta, Georgia. I did the head-hits, I
did the coke-spoon thing up the nose, the knife in the hand. You know, simple stuff. I got to hang
out with Chuck Norris, who had Bruce Lee stories. There was this little Cuban, Puerto-Rican guy
who kept hanging out with us at the effects lab. He would ask us lots of questions about effects: he
was in the movie, with a white suit and hat. We were friendly, but I never engaged him in a long
conversation or anything like that. I just thought he was a local, Spanish guy. When his part was
done - I shot him in the head on the boat full of immigrants - and he left, Joe Zito said, 'Do you
know who that was? That's Angel from The Wild Bunch!'. Fuck! I had a thousand questions I could
have asked him, about Peckinpah, about the movie, about the effects! I didn't recognize him because
he was so small.
"That happened to me once in Hollywood, when I went to the premiere of Dawn Of The Dead. I
was with Greg Nicotero. This kid who looked abot fourteen walked up to me, saying, 'Hey Tom, I
met you in Ohio, you remember?'. I said yeah, because I'm nice to everybody. But I wasn't overly
chatty because I was going off with Greg. After we walked away, he said, 'Do you know who that
was? That was Bryan Singer!'. Again, it was like fuck! Have you seen pictures of that guy? He looks
like a fourteen-year-old kid!"
In 1990, your directorial remake of Night Of The Living Dead hit shelves. I understand it wasn't the finest of
experiences for you…
Savini: "That was the worst experience of my life! George wasn't there. It would have been a
blast if George were there. We would've had fun and hashed things out like we always do. He would
have been on my side and been supportive. But he had to go to Florida to write The Dark Half and I
was stuck with these two idiots, who will remain nameless. People who thought that they were
Orson Welles, with big egos. They were assholes. I put the storyboards in my book Grande Illusions
2, because I wanted the world to know what I had intended to do. That movie was 20 or 30 per cent
of what I inetneded it to be. I had a whole Lolita ending planned for Harry and Barbara. It was
suspenseful stuff. So I told myself that I'd put the stuff I didn't get to do on Night Of The Living Dead
in whatever my next project was - even if it was a romantic comedy! So I got to do a pilot for a TV
show called The Chill Factor and I did put some stuff in that."
Did the experience of Night put you off directing?

Savini: "No, because I had already done three episodes of Tales From The Darkside and those
were a joy. I was totally prepared. I shoot stuff on paper first, because it's not costing you any
money to make mistakes. I put 800 storyboards of Night Of The Living Dead on the wall of my office.
Whenever I had a meeting with someone, whether it was the costumes, set design or George, I
could go through the whole movie and say, 'Here's what I intend to do'. When George saw it, he
said, 'You've got an eight-week movie on the wall and you only have six weeks to do it. So even he
started cutting stuff. He cut the whole bit with Tom catching on fire at the gas pump, before we
started shooting. He said we wouldn't have time, but my attitude was: how do you know? That
effect was cut in lieu of dialogue, but I feel that you don't go to a movie to see people talk - you go
to see stuff happen. Unless it's My Dinner With Andre, or something. So to cut action for dialogue
just didn't make sense to me."
Your Night remake got some bad reviews…

Savini: "Actually, I didn't see any bad reviews. I was sent reviews from all over the country
and they were great. Only one guy picked up on the sign on the house that they were in: I wrote 'M.
Celeste' on the name tag. To me, the house was the Marie Celeste: they go in and a cigar's smoking on
the ashtray, but nobody's there. I had tons of that stuff planned, but didn't get to do it. As it turned
out, it's a straight-laced remake right up until the end when you get a little bit of a sequel. They didn't
even want to do the thing at the beginning, with the guy in the suit coming towards Barbara and the
whole split with him in the coffin. All those little things that made it different - the thing with the
first guy in the cemetery *not* being a zombie, that's me, misdirecting. Using what you expect,
because you've seen the original and not giving it to you."
That's what good remakes do - use your expectations to pull the rug out from under you.
Savini: "Yeah. That's what I did do in the first five minutes, but then it became a tedious
nightmare. People who I thought were my friends were stabbing me in the back. George was lied to
constantly on the phone in Florida and would dictate things back that affected me and what I was
doing. In fact, I went to his house and told him that he was being lied to. It hurt me that he would
believe these people, who he'd just met, instead of someone he'd known for a long time."
How did it affect your relationship with George?

Savini: "We didn't speak for years. George and I were totally at the end of the friendship.
Years later, I invited George over for Christmas. He was very apologetic and I was apologetic. I said,
'George, there's a letter in my mind I've been meaning to write you' and he said the same thing. So
we kinda got together, talking-wise, *because* these DVDs were being released of movies we had
worked on, and they wanted both of us on the audio commentary. We would always go to George's
house for the commentary. So maybe in a way he was forced to have me in his presence again. But it
wasn't as social as it had been. We didn't go to dinner or invite each other to houses. It had a lasting
effect. Only recently have we got back to being chummy."
If your relationship hadn't slipped a couple of notches, might you have done 2005's Land Of The Dead?
Savini: "Uh… I originally had a bigger acting role in Land Of The Dead. I was gonna play one
of the characters. Then Universal said that since I was in the remake of Dawn Of The Dead, I couldn't
play a character in Land Of The Dead. So what did George do? Something he's never done before: he
never repeats a character in his movies. Land Of The Dead is the first time that a character from a
previous movie comes back. I play my character from the original Dawn, Blades. People said that
when I came out, they would cheer. Quentin Tarantino said that what I wore in Dawn Of The Dead
was obviously iconic to people, because they would cheer when they saw Blades. I just hope the
producer saw that!"
Why didn't you do the make-up and effects on Land?

Savini: "I was doing the make-up and effects on Land at one point. I had discussions with
George about it while we were doing the commentary on some movie - it could have been Martin, I
don't know. But we talked about the effects and I suggested that there's only so much you can do to
a person to make them a zombie: the face, the hands, etc. I suggested that we create some CGI
zombies, where if the brain is still intact, the zombie exists. I used the example of the zombie in Day
Of The Dead, who was lying on the slab and was just a brain. Imagine *him* walkin' around. Or a big
hole throughout somebody. I said we should have eight special CGI zombies. But then I just pulled
out of it. Even if I'd been hired to do the movie, I would have hired KNB to do the effects and
worked with them as a consultant. So up until the last minute I was going to have a consultant
credit, but… it's Greg's gig. There were no CGI zombies and my ideas were not in it. It's Greg's and
it's great."
But why did you pull out?

Savini: "Well, I'm concentrating on acting and directing. If you're gonna do that, then it has
to clean-cut. When I get effects jobs these days, I turn them over to my students at my school. It's
great for the students, it's great for the school and it's great for producers' budgets. When you come
to my school, you're almost guaranteed that you'll work on a commercial or a movie. You'll get on a
film set sometime. That has now led the person who owns my school to start a film-making
curriculum, with my name on it. We were gonna use George, but his wife at the time wanted way
too much money. It's crazy, because then he put his name on Jack Russo's school… which failed.
It's gone. The reputation speaks for itself! But who knows, we might still hook up with George. So
we're starting a film-making school as well. These guys who come in to do make-up and effects, they
all wanna work on movies anyway. So we might as well start a film-making programme and they can
do both!"
At what point did you start to put more emphasis on your acting career than making people's heads explode?
Savini: "Well, when I was getting more acting jobs. People were calling me about playing
parts. Even with George, I tried to play parts on movies I was doing effects on. It led to more and
more parts, and led to me *just* playing parts, like on Knightriders. I think that my intention
subconsciously, my whole life, was to use make-up effects to get in the door as an actor. Because as
an actor you've got so much competition. But if I was playing parts in movies I was doing effects on,
I could maybe get a name out there and get established. I get tons of offers as an actor, and they also
want me to consult with their make-up crew so they get my name twice."
From Dusk Till Dawn, in which you played Sex Machine, must have been a turning point with your acting, in
terms of people taking you seriously.
Savini: "Sure. There are people who walk up to me at conventions, asking, 'Have you been in
anything before From Dusk Til Dawn?' They have no idea about Dawn Of The Dead or Chainsaw
Massacre 2. But that doesn't surprise me. I actually heard a guy ask her dad if Paul McCartney had a
band before Wings! But the lucky thing for us, is that movies we did 20 or 30 years ago are now
being released on DVD, and fans think they just happened! It keeps out names out there and keeps
us in their minds. I mean, we did these things two lifetimes ago!"
Have there been any low-budget films you wish you hadn't accepted?
Savini: "Oh, of course. Children Of The Living Dead, Death Foretold… I don't think Death
Foretold has hit the stands here yet. It's me and Margot Kidder and I'm in it for, like, 30 seconds. Of
course, they've got my picture on the box. They called me and said, 'For the DVD release, can we
use your picture on the box?'. I said, 'Well, I haven't seen the movie yet. Send it to me and I'll let you
know'. And it was total shit, crap. I said no, and of course the movie comes out and my picture is
clearly on the box with my name. On the back, there's a picture of me killing Margot Kidder, which
is the surprise ending. So not only do they not know how to make movies, they don't know how to
market them. Now, Effects has finally been released on DVD. I'm only in it here and there, but on
the box it says 'starring Tom Savini'. So I wonder how Joe Pilato feels about that - he's the star of
the film and he's great!"
What about Johannes Roberts' Forest Of The Damned?

Savini: "That's good. I saw that. But I just did one called Sea Of Dust, where these guys have
tried to recreate the look of the Hammer films. And I think they did it - it's a total period thing and
it could be *very* good."
Does anything in today's underground horror repulse you?

Savini: "Uh… you'll have to throw suggestions at me."
How about stuff like August Underground or August Underground: Mordum? I understand that Fred
Vogel, one of the guys behind those films, was a student at your school.
Savini: "Oh, we had to fire him. He was making these outlandish, horrible things - stuff like
vagina faces. I'm afraid to watch his movies - I don't need to see that stuff. To me, it's weirdness, a
sickness. He was a teacher at my school, for a while, sculpting…"
Even Tom Savini draws the line somewhere! But I'm impressed that you're obviously still in touch with the horror
underground.
Savini: "Oh, I go to conventions and stay in touch with the fans. My phone number is listed.
People come to my house at 11pm at night, wanting to show me their portfolio. Please, call first
though! I'll get a call at four o'clock in the morning from some kid in Australia, who doesn't realize
the time difference. But I stay totally open to people. In 1991, I was at a convention in LA and this
kid walked up to me. He said, 'Mr Savini, I'm a big fan of yours. I work in this video store on
Manhattan Beach and I wonder if you'd mind coming by and signing some of your tapes'. I went,
and it was Quentin Tarantino, working in the video store. He probably had the script for Reservoir
Dogs in the backroom. But he's hired me three times now. That's why I'm nice to everybody: they
might grow up to be Quentin Tarantinos or Robert Rodriguez…"
***
Actor:
In Production
2000s
1990s
1980s
1970s
The Reverend: Vigilante Vampire (2009) (pre-production) .... Machine
Horrorween (2009) (filming) .... Killer
... aka Horrorween 3D (International: English title: copyright title) (USA: 3-D version)
The Dead Matter (2009) (post-production) .... Sebed
Sea of Dust (2008) (completed) .... Prester John
Zack and Miri Make a Porno (2008) .... Jenkins
... aka Zack and Miri (USA: promotional title)
Lost Boys: The Tribe (2008) (V) .... David Van Etten
... aka Lost Boys 2: The Tribe (Australia)
It's My Party and I'll Die If I Want To (2007) .... Uncle Tom
Planet Terror (2007) .... Deputy Tolo
... aka Grindhouse Presents: Robert Rodriguez's Planet Terror (USA: DVD title)
... aka Robert Rodriguez's Planet Terror (USA: complete title)
Silent Vengeance (2007) (V) .... Daniel Phillips
Loaded Dice (2007) (V) .... The Bishop
Grindhouse (2007) .... Deputy Tolo (segment "Planet Terror")
The Absence of Light (2006) .... The Higher Power
Beyond the Wall of Sleep (2006) .... Sheriff
A Dream of Color in Black and White (2005) .... Cabby
Land of the Dead (2005) .... Machete Zombie
... aka George A. Romero's Land of the Dead (USA: complete title)
... aka La terre des morts (Canada: French title)
... aka Land of the Dead - Le territoire des morts (France)
Forest of the Damned (2005) .... Stephen
... aka Demonic (USA: video title)
... aka Johannes Roberts' Demonic (USA: complete title)
... aka Johannes Roberts' Forest of the Damned (International: English title: complete title)
Friday the 13th Chronicles (2004) (V)
Secrets Galore Behind the Gore (2004) (V)
Unearthed (2004) .... Victor Tonelli
Death 4 Told (2004) .... Man (segment "The Psychic")
Dawn of the Dead (2004) .... The County Sheriff
... aka L'armée des morts (France)
... aka Zack Snyder's Dawn of the Dead (USA: long title)
Vicious (2003) (V) .... Kane
Zombiegeddon (2003) (V) .... Jesus Christ
Blood Bath (2002) (V) .... Stranger
Ted Bundy (2002) .... Salt Lake City Detective
... aka Bundy (UK) (USA: working title)
Eyes Are Upon You (2001) .... Eddie Rao
... aka Demon Lust (USA: video title)
Children of the Living Dead (2001) (V) .... Deputy Hughs
Web of Darkness (2001) (V) .... Rouge
The Monster Man (2001) (V) .... Uncle Joe
"Sheena" .... Peter Reynolds (1 episode, 2000)
- Lost Boy (2000) TV episode .... Peter Reynolds
From Dusk Till Dawn (1996) .... Sex Machine
Mr. Stitch (1995) (TV) .... Chemical/Weapons Engineer
The Demolitionist (1995) .... Roland
Heartstopper (1992) .... Lt. Ron Vargo
... aka Dark Craving (USA: video title)
Innocent Blood (1992) .... News Photographer
... aka A French Vampire in America
Due occhi diabolici (1990) (uncredited) .... The Monomaniac (segment "The Black Cat")
... aka Two Evil Eyes (USA)
Creepshow 2 (1987) .... The Creep (prologue)
... aka Dead and Undead: Creepshow 2 (USA)
Twisted Sister: Come Out and Play (1986) (V) .... Teacher (segment "Be Chrool to Your Scuel")
The Ripper (1985) (V) .... Jack the Ripper
The Boy Who Loved Trolls (1984) (TV) .... Motorcyclist
Creepshow (1982) .... Garbage Man #2 (segment "Epilogue")
... aka Cuentos de ultratumba (USA: Spanish title)
... aka Stephen King's Creepshow (International: English title: long title)
Knightriders (1981) .... Morgan
... aka George A. Romero's Knightriders (USA: complete title)
Effects (1980) .... Nicky
... aka Death's Director
... aka The Manipulator (USA)
Maniac (1980) .... Disco boy
Dawn of the Dead (1978) .... Blades - Motorcycle Raider
... aka George A. Romero's Dawn of the Dead (UK: closing credits title) (USA: complete title)
... aka Dawn of the Living Dead
... aka The Zombies (Philippines: English title)
... aka Zombi (Italy)
... aka Zombie: Dawn of the Dead
... aka Zombies
... aka Zombies: Dawn of the Dead (UK: video box title)
Martin (1977) .... Arthur
... aka George A. Romero's Martin (Australia)
Make-Up Department:
2000s
1990s
1980s
1970s
Ted Bundy (2002) (special makeup effects artist)
... aka Bundy (UK) (USA: working title)
Cold Hearts (1999) (special makeup effects supervisor)
The Assassination File (1996) (TV) (makeup effects)
... aka Out in the Cold
Mr. Stitch (1995) (TV) (makeup design and effects)
Killing Zoe (1994) (special makeup effects)
... aka Killing Zoe (France)
Necronomicon (1993) (makeup effects consultant)
... aka H.P. Lovecraft's Necronomicon, Book of the Dead (USA: video title)
... aka Necronomicon: Book of Dead (USA)
Trauma (1993) (makeup artist) (special makeup effects)
... aka Dario Argento's Trauma (USA: complete title)
Bloodsucking Pharaohs in Pittsburgh (1991) (special makeup effects)
... aka Picking Up the Pieces
Due occhi diabolici (1990) (special makeup effects supervisor)
Monkey Shines (1988) (special makeup effects)
... aka Ella
... aka Monkey Shines: An Experiment in Fear (USA: promotional title)
The Texas Chainsaw Massacre 2 (1986) (makeup artist)
... aka The Texas Chainsaw Massacre Part 2 (USA: video box title)
Twisted Sister: Come Out and Play (1986) (V) (special makeup effects artist)
Invasion U.S.A. (1985) (special makeup effects artist)
... aka Invasion USA (UK)
Day of the Dead (1985) (special makeup effects)
... aka George A. Romero's Day of the Dead (USA: complete title)
Friday the 13th: The Final Chapter (1984) (special makeup effects artist)
... aka Friday the 13th: Last Chapter (Philippines: English title)
Alone in the Dark (1982) (additional makeup effects: Toni's apparition)
Creepshow (1982) (special makeup effects)
... aka Cuentos de ultratumba (USA: Spanish title)
... aka Stephen King's Creepshow (International: English title: long title)
Xiao sheng pa pa (1982) (special makeup effects artist)
... aka Siu sang ong ong (Hong Kong: Cantonese title)
... aka Till Death Do We Scare (Hong Kong: English title)
The Prowler (1981) (special makeup artist)
... aka Rosemary's Killer
... aka The Graduation
The Burning (1981) (special makeup effects)
... aka Cropsy (USA: reissue title)
Eyes of a Stranger (1981) (special makeup effects)
Maniac (1980) (makeup artist)
Friday the 13th (1980) (special makeup effects)
Martin (1977) (makeup artist)
Dead of Night (1974) (makeup artist)
... aka Deathdream (USA: reissue title)
... aka Night Walk
... aka Soif de sang (Canada: French title: video title)
... aka The Night Andy Came Home
... aka The Veteran
... aka Whispers (USA: reissue title)
Deranged (1974) (makeup artist)
... aka Deranged: Confessions of a Necrophile (USA)
Special Effects:
2000s
1990s
1980s
1970s
Web of Darkness (2001) (V) (special effects supervisor)
Cutting Moments (1997) (special effects supervisor)
Backstreet Justice (1994) (special effects)
... aka Dead Wrong (Australia)
Necronomicon (1993) (associate creator: "darkman" and resurrected "clara", Optic Nerve Studios Inc.)
... aka H.P. Lovecraft's Necronomicon, Book of the Dead (USA: video title)
... aka Necronomicon: Book of Dead (USA)
Heartstopper (1992) (special effects)
... aka Dark Craving (USA: video title)
Due occhi diabolici (1990) (special effects)
Red Scorpion (1989) (special effects makeup)
... aka Red Exterminator (Philippines: English title: new title)
Creepshow 2 (1987) (makeup effects consultant)
... aka Dead and Undead: Creepshow 2 (USA)
"Tales from the Darkside" (special effects makeup) (1 episode, 1985)
- Halloween Candy (1985) TV episode (special effects makeup)
Maria's Lovers (1984) (special effects makeup)
Friday the 13th: The Final Chapter (1984) (special effects supervisor)
... aka Friday the 13th: Last Chapter (Philippines: English title)
Midnight (1982) (special effects)
... aka Backwoods Massacre
The Prowler (1981) (special effects)
... aka Rosemary's Killer
... aka The Graduation
Nightmare (1981) (special effects)
... aka Blood Splash
... aka Nightmare in a Damaged Brain
... aka Schizo (Australia: video title)
Effects (1980) (special effects)
... aka Death's Director
... aka The Manipulator (USA)
Dawn of the Dead (1978) (makeup & cosmetic special effects)
... aka Zombies
Martin (1977) (special effects)
Dead of Night (1974) (special effects)
... aka Deathdream (USA: reissue title)
... aka Night Walk
... aka Soif de sang (Canada: French title: video title)
... aka The Night Andy Came Home
... aka The Veteran
... aka Whispers (USA: reissue title)
Miscellaneous Crew:
2000s
1990s
1980s
Nightmares in Foam Rubber (2004) (V) (behind-the-scenes video)
... aka The Making of Creepshow 2 (International: English title: informal alternative title)
Savini's EFX (2003) (V) (behind-the-scenes footage)
Two Masters' Eyes (2003) (V) (behind-the-scenes footage)
Return to Crystal Lake: Making 'Friday the 13th' (2003) (V) (archival material)
The Many Lives of Jason Voorhees (2002) (V) (archival material
Mummy Dearest: A Horror Tradition Unearthed (1999) (V) (sculptor: Ardath Bay bust)
"Joe Bob's Drive-In Theater" (director: archive footage) (1 episode, 1995)
- Horny Biker Babes, Horny Shrinks, and Horny Zombies (1995) TV episode (director: archive footage)
The Burning (1981) (horror sequence designer)
... aka Cropsy (USA: reissue title)
Stunts:
2000s
1990s
1980s
1970s
Children of the Living Dead (2001) (V) (stunt coordinator)
Due occhi diabolici (1990) (stunts)
Monkey Shines (1988) (stunts)
... aka Ella
... aka Monkey Shines: An Experiment in Fear (USA: promotional title)
Friday the 13th (1980) (stunts)
Dawn of the Dead (1978) (stunts)
... aka Zombies
Martin (1977) (stunts) (uncredited)
Director:
2000s
1990s
1980s
Chill Factor: House Call (2004) (V)
... aka Tom Savini's Chill Factor (USA)
Night of the Living Dead (1990)
"Tales from the Darkside" (3 episodes, 1984-1988)
- Family Reunion (1988) TV episode
- Halloween Candy (1985) TV episode
- Inside the Closet (1984) TV episode
Camera and Electrical Department:

Document of the Dead (1985) (still photographer)
Thanks:
2000s
1980s
Can't Stop the Rock (2007) (V) (special thanks)
The Dead Live (2006) (V) (thanks)
Kottentail (2004) (special thanks)
Savini's EFX (2003) (V) (special thanks)
Document of the Dead (1985) (special thanks)
Self:
In Production
2000s
1990s
1980s
Tattoos: A Scarred History (2008) (completed)
His Name Was Jason: 30 Years of Friday the 13th (2009) (TV) .... Himself - Host
Fresh Cuts: New Tales from Friday the 13th (2009) (V) .... Himself
Starz Inside: Fantastic Flesh (2008) (TV) .... Himself
It's Hard Being Evil (2008) (V) .... Himself
Dead On: The Life and Cinema of George A. Romero (2008) .... Himself
Science of Horror (2008) .... Himself
He Who Made Monsters: The Life and Art of Jack Pierce (2008) (V) .... Himself
Zombiemania (2008) (TV) .... Himself
Just Desserts: The Making of 'Creepshow' (2007) (V) .... Himself
... aka Just Desserts (International: English title: informal alternative title)
... aka The Making of Creepshow (International: English title: informal alternative title)
Blood, Boobs & Beast (2007) .... Himself
The Horrorhound (2007) (V) .... Himself
American Scary (2006) .... Himself
Going to Pieces: The Rise and Fall of the Slasher Film (2006) .... Himself
It Runs in the Family: The Making of a Sequel (2006) (V) .... Himself
Flesh Wounds: Seven Stories of the Saw (2006) (V) .... Himself
Texas Frightmare Weekend 2006 (2006) (V) .... Himself
The Shark Is Still Working (2006) (V) .... Himself
Horror Fans (2006) .... Himself
The Witch's Dungeon: 40 Years of Chills (2006) (V) .... Himself
After Effects: Memories of Pittsburgh Filmmaking (2005) (V) .... Himself
Dream of the Dead: George Romero (2005) (TV) .... Himself
UnConventional (2004) .... Himself
"The 100 Scariest Movie Moments" (2004) TV mini-series .... Himself
The Dead Will Walk (2004) (V) .... Himself
Chill Factor: House Call (2004) (V) .... Himself
... aka Tom Savini's Chill Factor (USA)
Tom Savini: The Early Years (2004) (V) .... Himself
Creature Feature: 50 Years of the Gill-Man (2004) (V) .... Himself
Behind the House: Anatomy of the Zombie Movement (2004) (V) .... Himself
The Many Days of 'Day of the Dead' (2003) (V) .... Himself
Savini's EFX (2003) (V) .... Himself
Two Masters' Eyes (2003) (V) .... Himself
"The Midnight Movie" .... Himself (1 episode, 2002)
- Frightvition 2002 (2002) TV episode .... Himself
"The Simpsons" .... Himself (1 episode, 2001)
- Worst Episode Ever (2001) TV episode (voice) .... Himself
Hollywood Goes to Hell (2000) (TV) .... Himself
The American Nightmare (2000) .... Himself
Dario Argento: An Eye for Horror (2000) (TV) .... Himself (interviewee)
The Dead Walk: Remaking a Classic (1999) (V) .... Himself
Il mondo di Dario Argento 3: Il museo degli orrori di Dario Argento (1997) (V) .... Himself
"A-Z of Horror" (1997) TV mini-series .... Himself
... aka "Clive Barker's A-Z of Horror" (UK: complete title)
Halloween... The Happy Haunting of America! (1997) .... Himself
"Movie Magic" .... Himself (1 episode, 1995)
- Horror Makeup: Fright Factories (1995) TV episode .... Himself
Dario Argento: Master of Horror (1991) .... Himself
"The Incredibly Strange Film Show" .... Himself (1 episode, 1989)
... aka "Son of the Incredibly Strange Film Show" (UK: second season title)
- George A. Romero & Tom Savini (1989) TV episode .... Himself
Drive-In Madness! (1987) .... Himself
... aka Screen Scaries (USA: video title)
Scream Greats, Vol. 1: Tom Savini, Master of Horror Effects (1986) (V) .... Himself
... aka Scream Greats, Vol. 1 (USA: short title)
Document of the Dead (1985) .... Himself
Il mondo dell'orrore di Dario Argento (1985) .... Himself
... aka Dario Argento's World of Horror
... aka Dario Argento's world of horror (Italy: video box title)
"Livewire" (1982) TV series .... Himself (unknown episodes, 1982)
Archive Footage:
Nightmares in Foam Rubber (2004) (V) .... Himself
Brooke Lewis
A native of Philadelphia, the vivacious and versatile Brooke Lewis has made a quick impact as both an actress and
producer. Brooke relocated to New York where she began her professional career. Her first major taste of the limelight
came from Tony n' Tina's Wedding - the Off-Broadway hit comedy- in which she played the "prima donna"
bridesmaid Donna Marsala. Brooke soon signed with Tazmania/Metropolitan Records and released the freestyle song
"Get Me Off Your Mind". Brooke would also find success on-screen, appearing in The Rules (For Men), A
Packing Suburbia, Fare Well Miss Fortune, and Pride & Loyalty. She headed west - to Hollywood. There,
she would create Philly Chick Pictures, an endeavor designed to increase opportunities in front of the camera, as well
as behind it.
Since making the move, Brooke has had roles in, or on, several projects, including, Quintuplets, Mafiosa, Break,
Gerald, Dahmer Vs. Gacy and Double Tap. She recently starred opposite Butch Patrick (Eddie Munster) in
the indie TV pilot/web series Life's A Butch. Some of this firecracker's impressive producing credits include:
Circuit Riders (actress/producer), Broken Angel (co-producer), Kinky Killers (actress/co-executive producer)
and iMurders (actress/executive producer).
Among projects still in production, or yet to be released, are The Drum Beats Twice (actress/executive producer),
The Sinatra Club (actress/producer) and Slime City Massacre (actress/associate producer). In March of 2009,
Brooke launched the Ms. Vampy TV/talk show/web series, in which she starred, produced and directed! She was
honored by Screamqueen.com as SCREAM QUEEN OF THE MONTH November 2008!!! SCARS
MAGAZINE honored her with the centerfold and interview in Volume 2, Issue 2 and she graced the October 2009
Cover of SCARS with iMURDERS Co-star Tony Todd. Last Doorway Productions chose her as the first ever
BLEEDING BEAUTY OF THE MONTH August 2009 and she was chosen SINISTER GIRL of 2009
by Sinister Space. As if she is not busy enough, Brooke strongly believes in charity work and was chosen HOT
HUNKS OF HORROR HOTTIE 2009. The amazing hunky horror calendar benefits the Lynn Sage
Foundation for Breast Cancer Research and Brooke will promote this cause throughout the year. She is also an award
sponsor for the favorite horror film festival Shriekfest. Brooke is a proud member of Women In Film and Film
Independent. And, during football season (when she finally decides to take a break from working!), you will always
find her at a sports bar cheering for the Philadelphia EAGLES!
***
Iron Dave Interview
With
Brooke Lewis
Greetings, LBL! How was your Christmas?

Christmas was very good to your LUSCIOUS BROOKE LEWIS this year, Iron
Dave. Thank you for asking!
I absolutely LOVED the picture you sent me of you wearing the t-shirt I bought you! Has anybody made any
comments on it yet?
Iron Dave, I LIVE in my favorite new T-shirt. And, YES! People constantly ask where I got
the name, "Luscious Brooke Lewis." So now you are famous for creating my pet name. 
It‘s great to be famous, and to be your friend! Now, this may sound a bit strange coming from me, but here goes; is it
ok if I ask you some questions that DON‘T have to do with the horror genre?
Actually, I'm excited for you to ask me some questions about my work outside the horror
genre for once. My early artistic career started in musical theater then crossed over to Off-Broadway
where I did the comedy, Tony n‘ Tina's Wedding for three years in New York. Soon I was auditioning
for sitcoms and booking a lot of edgy independent dramas and mobster movies in NYC. Television
brought me from New York to LA and I have been fortunate to consistently work in many different
genres in my career. Some of my TV credits include, Quintuplets (FOX), Mafiosa (Pilot) and Life‘s A
Butch (Pilot).
Can‘t wait to see them! Now, first of all, let me say your versatility as an actress proceeds you; horror, comedy, thriller,
action, drama, you can do it all, and pull it off effortlessly. When your acting career was in the early stages, did you
find it difficult to ‗‘change character‘‘ on cue?
Yes, actually. When I first started out in theater, I was taught a very broad type of
acting. When I crossed over to television and film, I had to tone EVERYTHING down ten
notches! In my experience, there are very different methods used for different genres and different
mediums. And, it was definitely challenging for me to go from doing theater to being much more
subtle on film. (We all know I don‘t do subtle very well! :) However, I am a firm believer that
comedy is one of the more difficult genres to pull off. So, when you are able to have a successful
comedic career, it is sometimes easier to cross over to drama. Being a highly emotional person, I am
often able to flip the switch quite quickly, which allows me to show many sides of a character.
Tell me about your role in the film Gerald. I can easily see you in a comedy, with such a great personality, you‘d be a
natural.
Gerald is such a spectacular independent dark comedy. The film was written by Tim
Gallagher and directed by the talented Marc Clebanoff. This is a type of ―little movie that could‖,
with an outstanding cast that includes Louis Mandylor, Mackenzie Firgens, Deborah Theaker and
Mickey Rooney. I play the ―oh so cute & sexy‖ Bowler Betty who is very good at flirting with Gerald
at the bowling alley. I'm sure you are all surprised I could pull off that role! 
How about your action/thriller, Double Tap? Are you the ―femme fatale‘‘? {Laughs}.
Double Tap is one film I am really amped about for 2010. My dear friend and business
associate, Crystal Wortman, cast me in this action thriller that was well directed by Ryan
Combs. Double Tap stars the famous action hero, Fabian Carrillo. The supporting cast includes
seasoned actors such as Richard Tyson, Robert LaSardo, and Daniel Baldwin. I play the role of
Shiela, who is the high-class hooker/lover of Fabian's character Bobby. Again, I'm sure all your
readers are shocked to hear that I played a high-class hooker! 
Don‘t worry,we all know you are really a good little girl! I simply MUST ask you about your role in the film
iMurders. What was it like working along side seasoned veterans like Charles Durning?
The role of Agent Lori Romano was such a gift! Lori is a ―tough cookie‖ detective who
struggles between busting the case and protecting her family. Although she emotionally unravels
throughout the film, she must be careful not to allow her emotions to interfere with her job. She is
the younger sister of the Romano brothers and when Bobby Romano is murdered during an
investigation, Joe blames himself, turns in his badge and becomes a bit of a recluse. Lori is that
―baby‖ sister who is always trying to prove herself in her life and work. She looks up to her big
brother, Joe, so much and feels like she is losing him emotionally, since Bobby's murder. She takes
on the ―protector‖ role with her big brother and will stop at nothing to make sure he is safe. Good
thing she has a partner like Agent Washington, Tony Todd, to "protect" her, huh? I mean, who'd
mess with him, right?  The role was different than some of the ―sex pot‖ roles I have been offered
in the past and was an unbelievable opportunity for me as an actress. I feel so incredibly fortunate to
have had the chance to work with skilled and seasoned veterans like Tony Todd, Charles Durning,
Billy Dee Williams and William Forsythe. These guys are the best actors to observe and learn from.
How goes your life personally? Do you feel as though you‘ve reached the place you want to be in your career? No
regrets?
Wow! That's a tough question to answer honestly. I feel that I have sacrificed a lot of things
in my personal life to reach the place where I am in my career. I think that we all need to continually
strive to raise the bar, up the stakes, and reach new heights. I get very frustrated when I feel
stagnant, so I am always looking for new ways to improve myself both personally and professionally.
I genuinely hope that 2010 takes my career to another level creatively, spiritually, and financially. Do
I have regrets? Of course, I do. There are many things and choices I would change if I could, but, I
am really committed to living my life in the present these days.
Smart girl. What‘s on the horizon for you right now? Will you continue to branch out into different genres?
I will embrace any quality work that The Universe brings me! I love horror, comedy, drama -
all of it! I just LOVE acting!!! My ideal role would be on a TV series for several years and that's what
I'm going to focus on more of for 2010. I will also be putting a lot of time into my MS. VAMPY
Halloween family film with my amazing team, which includes Todd Tucker from Drac Studios, Jim
Pacitti, and Tamar Halpern. Your readers can also look out for a mobster feature called The Sinatra
Club and a short psychological thriller called Sprinkles by Roger A. Scheck. I also have a project in the
works with my dear friend and business associate Parrish Randall.

Iron Dave, I am forever grateful for your career support, but I am especially grateful for the
opportunity to share my career outside of the horror genre with you, your readers and my fans. You
are a gem for inviting me to play with all of these film greats! I look forward to a prosperous 2010
with you.
Much Success, XO Brooke Lewis
Anything for you, LBL! Hugs!
http://www.imdb.com/name/nm0506989/
www.Phillychickpictures.com
Bryan Gilles
Those inclined to dismiss experience and competence against the backdrop of youth would mistakenly dismiss Bryan
Gilles‘ as a mere magical upstart. Looking past reflexive assumptions, however, one could just as easily find themselves
dumfounded by the sheer knowledge of the art and its historical provenances possessed by such a comparatively young
entertainer.
These characteristics alone separate Bryan from 95% of his contemporaries, whose primary magical tapestries began
with the emergence of David Blaine and the advent of the YouTube School of magic. As a rare, second-generation
magician, who as a child saw countless sold-out stage shows and churches in his father‘s gospel-themed act, Bryan was
outfitted with the early tools and appreciations necessary to later work with some of today‘s leading Las Vegas acts—
with one-of-a-kind stage acts and white tigers to boot.
Bryan‘s sense of presentational acumen comes as a result of both being born into a family of entertainers, and the fact
that he had been a primary player in his father‘s act from the age of five. In one seven month period, Bryan‘s family
toured twenty-seven states presenting the Gospel and illusions in churches, schools, community theaters, auditoriums
and civic centers. Bryan‘s father, Dave had himself been performing from the age of eight, and so passing on a
generational itinerary and workload was not only a rite of passage—it was also tradition. That tradition led to Bryan
and his sister‘s 1st place victory in a stage magic competition that same year.
Magic would become a centerpiece for Bryan thorough both elementary and high school—sometimes at the expense of
studies and classroom cohesion. Magic‘s innate ability to entertain peers also led to occasional consternation by teachers.
―Detention,‖ recalls Bryan, ―was merely another practice venue for me. It was just what I was studying and when I as
studying it that was the problem.‖
And study he did. While today‘s Internet immediacy literally removes much of magic‘s anticipatory wonder, Bryan had
his father‘s tapes—those of early legends such as Copperfield, Siegfried and Roy, Lance Burton, and the late Doug
Henning. Practicing involved direct mimicry of these legends coupled with the secrets learned from his father. After
countless hours along with just a few more years, Bryan knew that the road forward was actually backward. He began
to study magic‘s deep and rich history, and what made the illusionists from yesteryears so wonderful.
College was the only real hiatus, as academics temporarily displaced what was in reality, a lifestyle. Moving from
California to Northern Idaho would solidify Bryan‘s individual and unique approach to the art. Bryan‘s quick wit
and fast hands became a mainstay in the local magic shop, which also provided a steady array of spectators already
inclined to enjoy his performances. This of course led to small engagements, parties and casual gatherings—venues
whose fluidity and frequency have led to some of Bryan‘s most solid performance pieces. Pieces he asserts will always be
a part of his act.
In 2001, Bryan attended a show featuring another young magician as the headliner act. Bryan attaches his decision to
plow headlong into his own magical identity on this moment. ―It was great to see someone—my age—making a name
for themselves using magic as the platform.,‖ he says. ―The great thing is, I‘ve been in contact with him ever since, and
it‘s been great watching his career blossom.‖
In 2007, Bryan had a rare opportunity to be grafted in to Las Vegas‘ magical culture. Being in the employ of one of
magic‘s leading acts, Bryan diversified his talents as both a primary illusion technician to the show, as well
maintaining the health and temperaments of some of the world‘s rarest felines (to include a ―Liger,‖ a half lion/half
tiger amalgam seemingly ripped right out of the Napoleon Dynamite screenplay). And while a grueling six-day-a-week
schedule that saw two shows each day was replete with the Vegas complement of beautiful dancers and giant illusions,
it was working shoulder to shoulder with giant magical minds—those known in magic‘s ―inner circles‖ as the real
geniuses, some of them very aged, but no less enthusiastic—that made it all worthwhile. ―It was an experience I will
never forget,― he says. ―I learned so much and worked with so many dedicated and hard-working people.‖
And hard work is exactly what Bryan brings to his art today, as he now calls Northern California his home yet
again. Bryan continues to reach into his magical past using every experience—no matter how small— to fortify what
he sees as magic‘s ultimate future. And based upon Bryan‘s unique blend of comedy and magic, the future looks bright.
―I just have an inner drive to keep magic alive in the lives of others,‖ he says. ―I hope that I can ignite a desire in
others the way it was ignited in me by those that came before, and they would be inspired to carry on magic‘s
metaphorical torch.‖
***
Iron Dave Interview
With
Bryan Gilles
Greetings and salutations, Bryan. Vegas been keeping you busy?

I‘m now back in Northern California and it‘s good to be home; however, I find myself
traveling a lot more up and down the West Coast fulfilling show contracts. Las Vegas is an amazing
place lending its share of unique experiences and plenty of opportunities to showcase a wide array of
new material and tried and true routines in the same show. I had the once-in-a-lifetime opportunity
to work under illusionist- Dirk Arthur in his show, ―Xtreme Magic‖ at the Tropicana Hotel &
Casino. It was nice not having the pressure on me as it was not my show; though, was a great
learning experience for me to be a part of a show with such ―larger than life‖ illusions, beautiful
show girls, and amazing exotic big cats! I was able to employ my love for illusion design and
fabrication and assist in the construction of several of the illusions in the show- twice a day- six days
each week.
I rarely see a magician perform comedy and magic with such perfection. Was it difficult to incorporate both elements
into your act?
Over the years, I‘ve slowly developed my stage-persona (or character) to who I am on-stage
today. It definitely didn‘t come to me over night. Early on, I thought I could pull off the GQ- David
Copperfield style; however, I lacked the incredibly large budget to maintain a large illusion show and
was a gangly-young teen who could barely walk without tripping over my own feet. Needless to say,
the GQ style was not my thing. When I finally realized that I had a natural ability to make people
around me laugh, I became more in tuned with what makes others laugh and realized I could use
that to my advantage. I began to study the work of performers such as Penn & Teller, Michael
Finney, Nick Lewin, and Mak King paying careful attention to the delivery of their jokes and not just
the magic. Incorporating both elements into my act has been hit or miss over the years but even
with the material that didn‘t work as I thought, I‘ve gained an insight to what to keep and what to
toss out of my act. It‘s a constant work in progress!
I see you followed in your father's footsteps, as a ''second-generation'' magic performer, which is also rare these days. At
what age did you start performing?
I was five years old the first time I performed on stage before a live audience. My mother,
sisters, and I were part of my father‘s evangelism-based illusion show. By the time I turned six, we
had just wrapped up a North American Tour covering over twenty-seven states in less than seven
months. At the time, I didn‘t really know life outside of performing so it was just a ―way of life.‖
Now that I am much older, I‘ve been able to gain a love and respect for magic and illusion. It‘s not
like my father pressured me to follow in his footsteps. He did; however, make sure I gained
knowledge of the history connected to each effect as I learned many of the classic routines and
illusion methods. I believe this has propelled me further into my passion for the art. It‘s quite an
honor to follow in the footsteps of Harry Blackstone Jr., Tim Kole, and several other second-
generation magicians. I hope to pass it down to my son should that time ever present itself.
I see you listed your days in school detention as a good ''practice venue'' for your craft. Am I safe in assuming that
your homework took second base to your interest in magic?
It‘s actually pretty funny... I‘ve been hired to entertain at various events by a couple of the
teachers who use to send me to detention for not staying on task and distracting others in the back
of class with a trick or two. It‘s always the same response after my show- ―I always knew you would
do something with your unique abilities!‖ Believe it or not, my grades were never affected by my
distraction and fascination with magic and performing. My homework was never really put off as
you would think. A lot of this is due to my mother‘s strict parenting. She was a credentialed teacher
and it has always been ―education first,‖ so the magic never really got in the way. A lot of my
English essays and History projects found a common theme though!
I have always been fascinated with magic acts, and their ''trade secrets.'' Is it true a lot of magic is simply ''slight of
hand'' and ''audience misdirection‘‘?
Everyone draws their own conclusions regarding magic and illusion. I‘ll let you in on one of
magic‘s biggest secrets... are you ready?... we are performing nothing more than basic science and
mathematical equations. To vanish an elephant requires optical illusion and/or misdirection, to
levitate a woman- physics, and a simple prediction often requires a basic math problem. I‘m not
saying it is all math or science. Another key to ―pulling it off,‖is to convince the audience that what
they are seeing is ―real.‖ If you can collaborate these key points, you can easily be considered a
magician by your peers.
Wow…could you make my ex-wife vanish?! Who would you say was your earliest influence? I was always into David
Copperfield.
You know, I get this question a lot!
Copperfield is a major influence to a big majority of the magicians performing today and I‘d
be lying if I said he didn‘t influence me at all. I would love to say that much of my early influence in
magic came directly from my father; however, it was due to a mixture of performers I‘ve had the
opportunity to appreciate over the years. In current days, I‘m inspired; both directly and indirectly,
by my peers who are also cutting a name for themselves. I guess it all comes down to knowing I am
in a small bracket of people who are known to bend reality for others- that has been a pretty solid
influence over the years.
What's this about you having a ''liger'' in your act?! Isn't that a tad bit dangerous?
Oh boy! I better clear this one up right away... While I was working for Dirk Arthur in
―Xtreme Magic,‖ I had the rare opportunity to work with some of nature‘s most amazing animals.
One of them was a very-young ―liger‖ (A hybrid cross between a male lion and a tigress). To date, I
believe the actual population of ligers in existence is in the 10's... they are extremely rare. Since the
uprising fear of big cats in show business shortly after Roy Horn (of Siegfried and Roy) was mauled
by his tiger ―Monticore,‖it seems that people have the wrong idea as to what these cats are like. Yes,
they can be potentially dangerous animals. Not once did I feel my life was in jeopardy while working
around the tigers. I was confident in the training given to me by Dirk and learned to never turn my
back to the cats and always respect them at all times. Safety always came first as we kept a safe
distance and most of the time a fence between us and the animals. They are surprisingly gentle
creatures for their size!
Does anyone ever walk up to you in public and ask you to do magic tricks on the spot?
Here in my home town, I am approached all the time to perform a trick at a moment‘s
notice. I try to always have a coin on hand and a deck of cards in the glove box of my car. Due to
recent articles in the newspaper or local magazines, I‘m approached more often. I don‘t mind it as it
has often lead to a show booking or two.
Do you ever invite audience members up on stage?

Yes, a large portion of my show is based on audience participation. I‘ve found the more I
can get my audience to interact with my show, the more fun it is for everyone- including me! Nine
out of ten times, I will get someone who has never been to a live magic show, so it is an honor for
me to allow them to become a part of the magic instead of insulting them and leaving a ―bad taste in
their mouth‖ in regards to magicians.

I am always working on several different projects at once! Right now, I‘m mainly focused on
returning back to school to get my degree in design work. I love mechanical design and CAD
(Computer Aided Drafting) and would love to retire someday from a job that will cover my
retirement... then I can continue to perform magic as more of a hobby than a steady income. I‘ve
also been working on a series of ―Do It Yourself Guides‖ teaching magicians to build their own
illusions with minimal tools and with items found in a basic hardware store.
Any last words before you go?
Never take ―No‖ as an answer! It doesn‘t matter how old you are or what you look like- If
there is something you are passionate about, go out and make that passion your life‘s goal! I‘m
almost thirty and I‘ve had the joy of being a firefighter/ EMT aboard a helicopter crew, worked with
rare white tigers and in recent years worked along-side people I have looked up to as a child within
the ―magic industry.‖ None of this would have ever happened if I stopped at the word- ―no.‖ The
race is long and in the end it is only with yourself. Make everyday count and don‘t let anything stop
you from achieving your goals.
Oh...and also... If you know I‘m performing in your area, buy a ticket and come see the show! I have
a three year old that I plan to send to college someday!
Harry Waters
I started to play the piano when I was about eight years old. I learned from a local piano teacher who taught me the
basics. It wasn't until about five years later however that I really got into playing, when I moved schools and started
learning with a teacher who taught me ragtime, boogie woogie and blues. In my teens I played in many different bands
and experimented with different styles of music, including rock, funk, pop and metal. I first worked professionally in
covers bands called Boot-Led Zeppelin and The Cosmic Charlies (a Grateful Dead/Phish covers band) This gave me
a good grounding in rock music and kept me going for the better part of three years. Covers can only take you so far
however and I started to hunger for something else.
I started listening to jazz in my early twenties and slowly became more and more interested and influenced by the
sound. At the time, I was playing in an originals rock band called Hubble Deep Field and my change in musical
direction started to cause some problems in the band. I increasingly wanted to stray from the typical rock structures of
the songs we tended to play and experiment with the chords often found in jazz but seldom found in rock music.
Consequently I found myself at musical odds with the other band members. It was at this time that I was starting to
play along to Bill Evans and Oscar Peterson records. It wasn't long until I decided that this was the direction I wanted
to head in.
I spent a term studying with a tutor at Guildhall who helped me get my basic jazz chops down a lot quicker. More
recently I have been taking lessons with a teacher from The Royal Academy who has shown me some classical
techniques (I was never classically trained) to increase my speed and facility. The jazz jam sessions in London are a
great place to learn and get your chops together. I started going to all the jams incl: The Beaufoy (Battersea), Shinos
(Blackfriars), Blue Jays (Shepherds Bush, sadly no longer there, it's now a disco), Halo (Battersea) and more recently
Bar Music Hall (Curtain Rd in east london). This last one is a great jam session with some really special players,
including but not limited to: Brandon Allen (Tenor) and Quentin Collins (Trumpet).
***
Iron Dave Interview
With
Harry Waters
Cheers, Harry. How's life treating you over yonder in the UK?
Life is good thanks. I have a son who just turned one, Oscar, he‘s absolutely huge, wears
clothes for a two and a half year old ! People think he‘s disabled because he can‘t walk yet. We‘re
having another next year so looking forward to that immensely.
So...I see you were something of a child prodigy, learning to play the piano at 8 years of age. Did your Father have a
hand in that, or did you just want to play piano?
Hardly a prodigy, I was always rather lazy and never practiced enough. I‘ve done more
practice in the last six years than I ever did as a kid. If memory serves me correctly I believe it was a
bit of both. I think that I was gently encouraged and I went gladly.
And...experimented in rock, funk, pop, and metal. How would you describe your own musical style?
I guess the piano music of the late 19th century (Scott Joplin) Professor Longhair and Meade
Lux Lewis permeate my own playing. I played a McCoy Tyner blues intro the other day that I had
transcribed to Ian (Ritchie) and he said it sounded like Dr John trying to play like McCoy. I love that
solo style of New Orleans piano.
Although I don‘t play the guitar particularly well, I would love to make a really heavy metal record at
some point. Maybe I could write one and hire a band to play it for me, much like an orchestra
would.
Tell me about your stint in the Led Zeppelin cover band. I was always a fan of their music.
That was a lot of fun. Boot Led Zeppelin we were called. I was a crazy fan at the time, I had
just come back from NY and decided that I wanted to turn pro, I was about twenty I think. I looked
through Loot and saw this advert for a tribute band. I joined and three years later I‘m sick of Led
Zeppelin (laughs). I had so much fun playing that music, I used to play three keyboards and three
guitars for that gig would you believe. I had to lug my Rhodes, a DX7 and Solina, as well as a strat,
12 string Rickenbacker and Martin acoustic, plus all amps, we didn‘t have roadies either. I played all
the keyboard parts and overdubbed guitars. My hands were full but it was a lot of fun.
As you grew up the son of a well-known singer/songwriter, did you ever feel ''over-shadowed'' by the Pink Floyd
legacy? Or, did you just go your own way with your own style?
Well there was a time when I first started using Cubase and I wrote a bunch of pop songs,
playing all the instruments myself and writing lyrics. It didn‘t take me long to realize that I‘m a
useless writer, not so good with the words. Thankfully I have chosen a different path than my dad,
I‘m a player rather than a writer. It‘s certainly been easier than if I had chosen a more similar style,
like say Jakob Dylan or Julian Lennon. That must be really tough.
Not meaning to be intrusive, but what was it like growing up being the son of Roger Waters?
Very normal, actually.
Tell me about the Harry Waters Quartet.

I started the band with Ian Ritchie. I remembered him from when he produced Radio Kaos
in the eighties. We actually ran into each other outside our local computer repair shop on Ladbroke
Grove and exchanged numbers. At that time I had just started learning to play jazz. I had just
learned the structure for Autumn Leaves. He would come over and show me stuff, and it just kind
of grew from there. It‘s taken me a few years to get good enough to really want to play live (jazz)
and to get a great band together. Recently I‘ve been playing with Yarron Stavi on Bass, who funnily
enough plays for David Gilmour, and Jon Scott on drums. My album came out in January and has
sold really well for an unknown jazz artist. Hopefully by the time the next one come out I‘ll be a
little more reknowned!
And....what's this about you taking lessons from the Royal Academy? Sounds as though you were in great hands
there.
Definitely. I auditioned unsuccessfully for Juilliard and Manhattan School of Music a few
years ago, and the guy who saw me there said that I lacked fundamental technique required to play
jazz and suggested that I have some classical lessons. I was put in touch with Nicola Eimer who has
been filling in holes in my playing that have been there since day one, having never been classically
trained. It‘s been difficult to try and iron out bad habits that I learned years ago, but has
immeasurably helped my playing to get better.
As a professional musician, what would you say is your favorite style of music? Or, better yet, favorite ERA of music?
If I had to pick ONE style I‘d probably say rock/metal. Over the years I‘ve probably
listened to more of that than any other style. Clearly I love jazz, I listen to probably 90% at the
moment. Also a lot of classical music, particularly solo piano stuff like Bach, Beeethoven and
especially Chopin.
Interesting choices. What was it like playing with your Father in the In The Flesh tour?
It was a lot of fun. He‘s a great boss, anyone would be lucky to work with him. He is a
perfectionist to the point of obsession which I love. I don‘t like working for people who lack focus
and direction. You always know where you are with him.
What's on the horizon for Harry right now?

I‘m looking forward to some jazz festivals in 2010. I‘ll be playing at Jazzinec in Prague, and
Swing Monsegur in France. Hopefully I‘ll get others booked in before them and make a little tour
out of it!
Good luck!!
Jim O‘Rear
Jim O‘Rear has been involved in the entertainment industry for over twenty five years, beginning his career on tour as
The Youngest Professional Magician with David Copperfield, Harry Blackstone Jr., and The Great Tomsoni and
opening for acts like Cheap Trick and John Anderson.
With his ―magical‖ background and having been trained in New York at The American Academy Of Dramatic
Arts, it was only natural that Jim move into the realm of film, television, and theatre where he has worked steadily as
an actor, stuntman, and special make-up effects artist on such projects as Day Of The Dead, Star Trek 4, The
Vampire Wars, Lethal Weapon 3, Creature Feature, Hayride Slaughter, Cop & ½, Psycho Beach
Party, Evita, Little Shop Of Horrors, No Retreat No Surrender 3, Mortal Kombat: Conquest, and
many more with actors including Martin Sheen, Burt Reynolds, Mel Gibson, Amanda Plummer, Maximillian
Schell, Robert Englund, Jon Voight, Chris Sarandon, and others.
Wanting to get some of his own ideas onto the screen, Jim successfully moved into the area of screenwriting.
Although competition is tough, he has written and sold a number of horror-related screenplays, including The House
Of Pain (in development with Robert ―Freddy‖ Englund, Gunnar ―Leatherface‖ Hansen, Tom ―Friday The
13th‖ Savini, Bill ―ChopTop‖ Moseley, and Debbie ―Scream Queen‖ Rochon), Hayride Slaughter, Hayride
Slaughter 2, The Deadly Obligation, Vampyre Tales, Wolfsbayne, The Deepening, and (currently
playing on cable) Scream Farm. Jim also placed third for Best Screenplay in TSA‘s screenwriting competition and
was a finalist in the Fade In Screenplay contest and Writer‘s Network competition.
Jim‘s horror writing has not stopped there. He has also contributed many articles to national publications, such as
Scary Monsters Magazine, Scars Magazine, Haunted Attraction Magazine, Comics Interview, and
Underground Entertainment, and has been recognized in Fangoria Magazine, Alternative Cinema, Fright
Times, and Femme Fatale Magazine. Jim was also ―immortalized‖ as a comic book character opposite Thor in
an issue of MARVEL Comic‘s ―What The…?‖ and has appeared as himself (along with Ken Foree, Tom
Savini, Debbie Rochon, Brinke Stevens, James Gunn, and more) in the fictional horror novel, BAD MOON
RISING… the third installment of Jonathan Mayberry‘s GHOST ROAD BLUES trilogy…. and in
ZOMBIE: CSU. In addition, Jim has written a paranormal book about real hauntings in Tennessee for Schiffer
Publishing titled TENNESSEE GHOSTS, available in stores now, and is penning his follow-up titled
HOLLYWOOD‘S PARANORMAL MOVIES.
Currently, Jim continues to work as an actor and stuntman on several films per year, recently cast opposite
Andrew ―Wishmaster‖ Divoff (Lost, Airforce One), Tom Savini (Grindhouse, From Dusk Til Dawn),
and Jason Carter (Babylon 5, Angel) in The Dead Matter, playing Kane Hodder‘s (Hatchet, Friday The
13th) brother in Old Habits Die Hard, acting opposite Linnea Quigley (Return Of The Living Dead) and
Monique Dupree in Post Mortem America, appearing with Ari Lehman (Friday The 13th), Daniel Taylor
(Return Of The Swamp Thing), John Dugan (Texas Chainsaw Massacre), and Playmate Alex Del
Monnaco in Hell-ephone, portraying an alien bounty hunter in It Came From Trafalgar, with Reggie Bannister
(Phantasm), Butch Patrick (The Munsters), Linnea Quigley, Brinke Stevens, and Gunnar Hansen (Texas
Chainsaw Massacre), appearing with Tiffany Shepis, Gunnar Hansen, Ed Neal, and John Dugan in Shudder,
and is in development deals for three more of his screenplays. As if that isn‘t enough, Jim continues to write for horror
publications all over the world and consult for horror-related projects internationally.
***
Iron Dave Interview
With
Jim O'Rear
Greetings, Jim! Long time, no see. Been keeping busy?

Extremely busy!
Thought so! First of all, let me say it is very gracious of you to do this interview considering your hectic schedule..Now,
first question; what is the film OLD HABITS DIE HARD about? With you and Kane Hodder both in it, it will
surely be an instant indie horror classic!
OLD HABITS is about a crazy family who owns the only mortuary in a small town. They‘ve
figured out how to survive by killing people, pawning the victim‘s valuables, and then getting paid by
the victim‘s family to handle the funeral and burial arrangements. It‘s, sort of, a Devil‘s Rejects /
Texas Chainsaw story featuring me and Kane Hodder as brothers. Our mother is played by Emmy
Award winner Tricia Cast (THE YOUNG AND THE RESTLESS, MARRIED WITH
CHILDREN). The movie was heavily influenced by the old Creepy and Eerie comic books, so it
has a very warped and dark sense of humor that runs through it. The cast also includes Roger
Hewlett (THE CHANGELING, DEXTER, ROAD HOUSE) and Stacey Dixon (SHUDDER). It
should be available on DVD and Blu-Ray very soon.
Speaking of film, is it true you played a zombie in George Romero's DAY OF THE DEAD? I watched that film,
and didn't see you! Then again, one zombie looks like the next one to me. {Laughs}.
Yes! Ha ha. I was a zombie… actually a few zombies… in DAY OF THE DEAD. I
mostly did stunts and background zombie work. I‘m glad that you didn‘t see me… that means I did
my job. When you work on something like that, you want to be seen but not necessarily specifically
remembered for one particular thing because the more generic you are… the more days you get to
work on set! It‘s not about the fame for me… it‘s about the work.
I see you have producer listed in your resume now as well. Congrats! What are some of your productions?
Yes, I have co-produced a few films over the last few years. VAMPYRE TALES was the
first, which is a vampire anthology featuring Debbie Rochon (AMERICAN NIGHTMARE),
myself, Amber Newman (VAMPS), Debbie D (TALES FROM THE CRAPPER), and Ted
Alderman (TORMENT). Next was THE DEEPENING, a killer fireman movie, featuring Gunnar
―Leatherface‖ Hansen (TEXAS CHAINSAW MASSACRE), myself, Debbie Rochon, Ted
Alderman, and Debbie D. Then there was the zombie epic SCREAM FARM, featuring myself,
Maria Kil, Ted Alderman, and Kimberly Lynn Cole (CREMAINS, DEAD CLOWNS). These three
films I co-produced under my Allied Horror banner with Ted Alderman, under his banner Wicked
Dreams Entertainment. I‘ve also been involved with co-producing the werewolf film ACONITE, featuring myself,
Reggie Bannister (PHANTASM), Linnea Quigley (RETURN OF THE LIVING DEAD), Gunnar
Hansen (TEXAS CHAINSAW MASSACRE), and Debbie Rochon. I‘ll be co-producing three
films next year… a paranormal documentary, a teen horror slasher, and a romantic comedy.
Also listed in your resume; actor, FX man, stuntman, and...magician?! Was it a difficult transition from magic man
to film?
Not really, because it came very early in my career. When I was a kid, I was traveling around
as The Youngest Professional Magician… appearing with David Copperfield and Harry Blackstone
Jr… when a television producer approached me after a performance and asked if I‘d like to be in a
TV commercial. I did the commercial and it led to more television and film work. It wasn‘t a huge
step because it was all new and all, in the end, based around a performance.
In your opinion, would you prefer to work in indie or big budget film? It seems to me as though an indie production
would have a lot more ''artistic freedom.''
I REALLY enjoy the indie world. I‘ve spent my time on big budget sets as well as low
budget sets and it is the people working on the low budget sets that haven‘t had the creativity beaten
out of them by the Hollywood system, yet. It‘s a much more fun and creative environment to work
in and allows you a lot more freedom. You don‘t get paid as much and you give up a lot of perks,
but, as I stated before… it‘s not about fame, for me… it‘s about the work. I‘d much rather receive
less pay for something I enjoy than take a big paycheck and feel like a piece of meat being shuffled
around in front of a camera.
Who were your early influences as far as indie horror films are concerned? I was always into John Carpenter and
George Romero, myself. And, let us not forget H.G. Lewis.
George Romero was my earliest influence followed by John Carpenter. These guys are
geniuses. I later discovered H.G. Lewis and found his stuff to be REALLY fun, also. You can‘t talk
about indie horror without mentioning those three names. They were the pioneers and really made
it all happen. You‘ve also got to throw some credit towards Tobe Hooper, Wes Craven, Roger
Corman, and Don Coscarelli.
Have you ever considered taking the director's chair, and staying there for awhile? You most certainly have the
qualifications.
I have, actually, directed two films already. I co-directed THE DEEPENING with Ted
Alderman and then I solo-directed SCREAM FARM. It‘s a job that I have a love/hate relationship
with. It‘s great from a creative standpoint, but a beast from the business and responsibility side.
However, I will be directing three more films next year… if it doesn‘t kill me! Ha ha
I see you are into photography as well. What kind of pictures do you take? Still life? Portraits?
Photography has always been a hobby for me. I love photos and I love taking photos…
however, I don‘t know a thing about what I‘m doing. I‘ve been very lucky to have had several of my
photographs published in books, calendars, magazines, trading cards, newspapers, and more… but I
don‘t really have any particular style or type that I focus on. I just see something that pleases my eye
and I press the button on the camera. I don‘t use special lighting and I don‘t alter the photos in any
way. What I snap is what you get. I think my favorite, though, is taking pictures of animals and
nature.
What advice would you give to an aspiring filmmaker?

Don‘t do it unless it is your passion and you feel, deep in your heart, that you just can‘t live
without doing it. You must have that insatiable passionate drive inside you to make it anywhere in
the industry. Let‘s face it… anyone can make a movie, nowadays. The cameras and editing
equipment are now affordable to everyone and there are so many avenues available for self-
distribution that the most novice moviemaker can get a product into the public‘s hands. However…
to stand apart in the currently overcrowded marketplace of indie films and make a name for
yourself, you must have that insatiable drive to make a quality product and tell a good story. If you
don‘t have that passion, you‘re just wasting your time.
Before you leave us, let me say again that it is always a pleasure to have you drop by, and I wish you all the best in
your future endeavors. Any last words before you go?
Thanks for the interview! A pleasure, as always. Anyone interested in keeping up with my
current projects and personal appearances can do so by going to my website, MySpace page, and
Facebook page listed below:
Official Website: www.JimORear.com

MySpace: www.MySpace.com/JimORear
Facebook: www.Facebook.com/JimORear
Tony Moran
In the final moments of John Carpenter's 1978 classic horror movie Halloween, Laurie Strode (Jamie Lee Curtis)
lifts Michael Myers' mask to reveal actor Tony Moran underneath. His face was only visible for several seconds, but it
was enough time to make Tony Moran a cult icon among horror movie fans. Every year he appears at numerous
horror conventions, where he signs autographs and poses with adoring (and sometimes spooked) fans. Who could ask
for more from their (less than) fifteen minutes of fame?
***
Iron Dave Interview
With
Tony Moran
Good morning, Tony. How have you been since 1978?

Thank you and the same to you. I have been very good. I am surprised in some ways that I
am still alive haha but overall I have had a great time in life and it only gets better.
Let me begin by saying what an honor it is to have the ''original Michael Myers '' here with us today. Speaking of
Mikey, does it bother you that so many of your fans always refer to you as ''that cool guy that played Michael Myers''?
I know a lot of actors hate being typecast.
Well, I really appreciate you saying that. It is an honor to be talking to you a well. No I don‘t
mind it at all. To be referred as ―cool‖ I think is a big compliment. I‘m a very lucky guy. There is
nothing to hate in my position only gratitude.
Not to be nosy, but what was your salary for Halloween?

You are being nosy. Haha.
Sorry...
It's cool. The movie cost $300,000 to make and 21 days to film. You can do the math. Haha.
I got paid dirt but being a starving actor at the time and sleeping on a couch it might as well have
been a fortune. It paid for food, rent and gas for my car so I could go surfing.
Yeah, back in the 70s, the budget wasn't quite so tight! What was your first reaction upon hearing about Rob Zombie
doing a remake of Halloween? I, myself, feel that classic horror films should be left well enough alone. Paying homage
is one thing, and making a mockery of a film is something entirely different.
I couldn‘t agree more and thank you for saying that. I was crushed. Ya know, you paint a
painting and that‘s it. You don‘t try to paint the same picture twice. Why? Especially a masterpiece,
that John Carpenter made. I haven‘t seen it. I thought money would be a big factor to remake or re-
image ―Halloween‖. I am a big fan of Rob Zombie, his music and his movies but I was like ― are you
kidding me‖?.
I hear ya. Did you ever dream that the film would have such an impact horror cinema?
Uh, not even remotely. There was no such thing as a horror movie with a mask in it at the
time. Plus the low budget to make the film. I didn‘t even want to go on the interview for it when my
agent gave it to me. I was kind of embarrassed I was doing it. I thought two weeks in the theatre and
you will never see it again. When I saw it in the theatre I was really impressed how good it was but
had no idea.
How did your sister, Erin, react to your role in the film? I mean, picture little Joanie Cunningham sitting back to
watch Halloween! {Laughs}.
I never really talked to her about it. She was doing her thing and I was doing mine.
How did your own children react when they found out what daddy was famous for?
Well, my oldest was four years old when she first saw it. She knew it was daddy so it didn‘t
scare her. To this day she loves the movie and watches it all the time and I don‘t think it‘s strictly
because daddy is in it. I think she truly loves the movie. She is stoked of who I am but doesn‘t brag
about it or anything. I‘m just daddy to her.
Do you miss acting? Any regrets about not pursuing it as a career?

I don‘t miss acting anymore because I have been acting in some things recently but I DID
miss it. It was always in my blood and never going to leave. It is very rewarding and cleansing for me
to act. Always has been. No I don‘t regret not pursuing acting. Life happens and it happens for a
reason. I‘m back in it and always thought I would be. I try never to look back at anything with
regret.
What's the story behind the film Beg? It sounds great, has a great cast lined up.
―BEG‖ is a very interesting story of how it came to be. A couple of years ago I was
contacted through Myspace by Kevin MacDonald who wrote, directed and co-produced the movie
with his wife Shanna but it actually started out as a short. I responded to Kevin because he was so
genuine through the email and told me was a huge fan of Halloween and Michael Myers was his
favorite horror character and horror icon. He said he wrote the movie especially for me and if I
didn‘t want to do it he wasn‘t going to make it and I probably wouldn‘t even respond back to him
but I did and he sent me the script. It blew me away. It was great. I called P.J. Soles and told her
about it and she read it and was very impressed as well and agreed to play my wife. Kevin and I
decided to partner up and I became a producer on the film as well and we decided to make it a
feature. I then contacted some of my horror friends to be in it, Tony Todd, Michael Berryman,
Kristina Klebe, Debbie Rachon, Tiffany Shepis. There is also a very talented young actor in it. His
name is Brandon Stumpf. He has a very sizable role in the movie and interacts with me throughout
it. Quite frankly without his impressive performance and pivotal role, the movie would be lacking an
important quality. You will be seeing him a lot more in films I am sure.
What do you do to chill out? Does attending these conventions make you happy?
I love to hang out and play with my kids actually. I also like to hang out with my girlfriend.
We like to shoot pool and throw some darts. She is a bit of a hustler though. Although, you would
never know it how she comes across but you better hold onto to your wallet. Haha. Doing the
conventions is a huge joy to me. I get to meet my fans. I have the best fans in the world. I am a very
lucky guy. The only thing hard is the traveling. Very stressful but once I am there at the convention I
am the happiest guy alive.
What's on the horizon for Tony right now? If a suitable director offered you the chance to reprise your role as Michael
Myers, would you do it?
I have a lot going on right now. A lot of projects on the table outside of ―BEG‖. Kevin,
Shanna and I are working on writing a prequel and sequel for ―BEG‖ as well. It‘s an exciting time
for all of us. If a suitable director and most importantly a suitable and good script were presented
then of course I would definitely be in. It could be a very interesting idea.

I want to thank you for the interest in having me do this I appreciate it a lot. I also want to
say hi to all my fans and thank them. I also hope to meet each and everyone at some point. Also,
Look for ―BEG‖. I guarantee my fans that it WILL NOT DISSAPOINT! I give you my word.
***
Actor:
Stingy Jack (2009) (V) (pre-production) .... Deputy Adams
Beg (2009) (post-production) .... Jack Fox
The Lucky Break (2008) .... Mark Ashby
Halloween II (1981) .... Michael Myers (age 21)
... aka Halloween II: The Nightmare Isn't Over! (USA: video box title)
"CHiPs" .... Anderson (1 episode, 1981)
... aka "CHiPs Patrol" (USA: syndication title)
- Dead Man's Riddle (1981) TV episode .... Anderson
"California Fever" .... Brian (1 episode, 1979)
- The Girl from Somewhere (1979) TV episode .... Brian
"The Waltons" .... Tinker (1 episode, 1979)
- The Burden (1979) TV episode .... Tinker
Halloween (1978) .... Michael Myers (age 23)
... aka John Carpenter's Halloween (USA: complete title)
Producer:
Beg (2009) (post-production) (producer)
Self:
Halloween: Faces of Fear (2007) .... Himself
The Horrorhound (2007) (V) .... Himself
Archive Footage:
The Many Masks of Michael Myers (2007) (V) .... Michael Myers (age 23)
Boogeymen: The Killer Compilation (2001) (V) .... Michael Myers, age 23 (Halloween)
Tony and his Halloween co-star, P.J. Soles
Alice‘s Nightmare
Iron Dave Interview

With
Joe {of Alice‘s Nightmare}
Greetings, Joe. Been keeping busy?

Yes Iron Dave I have . The Amazing Mr. Kreskin must have told you to get me or you have
just great timing . I haven't done an Alice Tribute show in a year now, I do miss it. I have been
recording my first CD, ( Drawing Blood ) and it's almost complete, about 2 months away from it's
official release . It would have been ready sooner but we got the opportunity to open 5 shows on
the east coast for Alice Cooper himself . The band is called 5th Avenue Vampires and it includes
Dennis Dunaway on bass, originally from (Alice Cooper), Richie Scarlet on guitar from (Mountain,
Freeleys Comets, and Sebastian Bach), Russ Wilson on drums ( The Dennis Dunaway Project),and myself ,
vocals and front man. How's that for busy?
Busy enough! When I first ran across your website, I KNEW you were a great choice for this book. You have an
uncanny resemblance to the real Alice Cooper, too. Have you ever been mistaken for him in public?
Wow this is funny I will save the best one for later but unless I am in a place that has Alice
on peoples mind I am usually mistaken for someone else , I broke my hand once in rehab the nurse
thought I was Tom Cruise Ha Ha , at a casino they thought I was Yani , Dunkin Donuts said I
know you you're Iggy Pop , ever where people think I am someone they just can‘t put their finger
on it. But I usually see Alice‘s show on Halloween. I go fully dressed with a bloody pillow case
filled with gummy eyeballs or body parts and hand them out to the kids . People actually do 180
degree turn around to catch up to me for pictures etc. I have had them get mad cause I would say I
am not him. They would say if you don‘t want to be recognized I shouldn't go out that way.
The price of fame, huh? You also have his vocal style dead on, too. How long did it take you to perfect it?
That is actually right out of my mouth , I don't have to do anything to sound like Alice. It‘s
actually harder for me not to sound like him, than to sound like him. But I think I am a little more
raspier and I have a lot meaner of a tone than Alice, but I have always loved Alice's voice , and am
happy I sound that way.
I see you hail from the NY/CT areas. Were they good venues for a cover band?
Well I always kept the Alice‘s Nightmare show for only the better places and in places that I
could actually do a full show. I never allowed it to be cheapened to a bar band even though some of
the band members would have liked me to book it anywhere just to do a show. But I played and
headlined all the best places.
BB King‘s was one of the best. I even had the Coney Island Side Show open up for us, then had
them perform with us on stage. A guy who swung stage lights from his ears, a girl who swallowed
swords, another with a 15 ft snake, Insectivora, who played with whips. I think Donny Vomit was
the MC, ( they are all great and fun to work with and we all fit together perfectly). Played the
Chance Theatre , Fairfield Theatre , Webster Theater, The Haunt, a bunch of larger clubs.
Another great place that I can remember was the United Methodist Church in Pittsfield Mass, this
was one of our greatest shows ever, I wish it was videoed properly. It was supposed to be pro shot
but never happened , we had more lights, stage props, extra actors , and all than a real Alice Cooper
concert. huge stage multi level. I even fired off the original Bozo the clowns confetti cannons from
WGBN9 TV show , I had confetti everywhere streamers were hanging from the chandeliers and
everywhere (if you go to our website there is a video of Billion $ Babies from there you can actually
see me pulling on the streamers and if you go there today look up in the chandeliers there is still
confetti in them) Oh yea they had church services there the next morning.
We got to do 2 shows with the Dennis Dunaway Project. The first one I put together at the Chance
Theatre, we had a good turn out and everything went fairly well . Dennis was a little upset, not over
me but the club for having his band start so late and he seemed a little upset after the show . A week
or two later I sent Dennis an e-mail and my wife and I took Dennis and his wife out to dinner. We
then ended up doing a Halloween extravaganza show on Halloween night, where Dennis who
saves everything, has so much stuff from his days with Alice , brought the original electric chair and
some other original props from the time. We both decorated the Fairfield theatre to the max . That
was a great show. It almost didn't happen and this is where things start to take a new turn. My
guitarist's wife came down with a problem that made it impossible for him to do the show. In fact I
had about 5 shows booked that he had to back out of . I called Dennis and asked if he knew of
someone that I could get in touch with that would be able to pull it off with only 2 weeks before the
show. He got me in touch with Richie Scarlet who called me at 11 pm and said let‘s do it, what are
you doing now, since he lived about 35 minutes from me he suggested we meet at the clock tower in
Sharon CT.. at midnight , and I would give him the music for the show . I did and it was a scary
sight to see us two.. the show went great there is some video footage of it out there on the internet
that you can see. also at the end of the show Dennis was letting everyone sit in the electric chair and
get their picture taken . Richie called me in from outside and said let‘s get our picture in the chair
together, we did , then Dennis jumped in and I got a great shot of me choking the 2 of them in the
chair. I can go on forever with some of the shows we did always seemed to be booked for the
holidays and I would always kill off the Easter Bunny or Santa etc .
Judging by your pictures, I‘d say you have put together a pretty elaborate stage show, complete with monsters, props,
costumes, and even Alice-esque executions. How hard was it to perfect the stage show?
This was accomplished by my wife. daughter and myself , even my son would help drag
bodies off the stage, this part require brains, patience and the ability to not kill off all the extras
involved in the show before the show went off, 10,000 questions 100s of phone calls . all the day of
the show even when they all had a written script , well rehearsed over and over , and although we
changed the show night after night most of the extras actions where the same . in such and such a
song Ray , Glenn , put Joe in straight jacket , make sure you put the mic in his hand, they‘d ask
which hand is that my hand when I‘m facing him or his right hand, should I wear a clown mash or a
monster etc, etc. so my wife would right up a complete script with as much detail as we could ' print
them up for each extra, then highlight each person‘s script so they all had an individual script
sometimes up to 10 extra performers per show , Not only that but my wife and Daughter played
multiple parts in the show . my daughter Stacey got killed 2 or 3 times in different outfits in every
show . Funny I started our last bunch of shows with me killing her before I even sang a word .We
do have some really wild and elaborate props a Frankenstein Monster that I assemble in pieces then
bring it to life and a sword coffin that they would handcuff me put me in a body bag then into the
coffin put a dozen swords into the coffin show me in the coffin with the swords in you then I
would pop out as one of the clowns with the swords for Schools Out . I spent a lot of money on the
show even when we would do one I would put real dollar bills in the large balloons that we would
throw out to the audience they would hit them back up on the stage, I would bust them with a
sword. And then my clowns on the stage would realize it was real money falling from the sky and
they would be trying to pick it up all the while I‘m working the stage with a live sword in my hand .
We would fire off confetti cannons, hand held confetti guns. We would make hundred of balloon
swords that the clowns would hand out in the audience and be having balloon fights out there . It‘s a
well designed and fun show. we have an electric chair for executions and I was going for the gallows
next , I think that‘s one of the scariest ways if done right on stage. As for perfecting I was always
making it better I would always end up made over something not going right. I could tell you
hundreds but I would get over it quick and the audience would never know they just loved the
show.
and to laugh I put the whole show together hoping to get a chance to meet Alice without having to
pay 400 dollars for the meet and greet package that they offer. And maybe being able to leave the
meeting with him being able to remember me and not just another face from the tour.
After hearing your band – and your talent for re-creating his original material – it‘s hard to believe you haven‘t
created your own, individual sound, pen some of your own lyrics. Has the thought ever crossed your mind to start your
own group with a different moniker?
Well as I told you earlier I am doing an Original now, 5th Avenue Vampires, Drawing Blood
with a great bunch of guys, Dennis and Richie are great to work with. Dennis is all about music.
Richie is the poster boy for rock- n- roll. He is rock from the minute he gets up about 6 pm till he
goes to bed at 5am and Russ is the hardest hitting drummer around .
I usually write the lyrics and Richie or Dennis come up with the music. We were recently featured on
the Electric Ballroom WRAT Radio's Halloween show where they played 2 of our songs and we
built some fans opening for Alice.
I see you have six members in your band, whereas Alice‘s original band only had five. Why the extra member? Nosy,
aren‘t I? {Laughs}.
Well Alice‘s' music changed so many times over the years, to do all the songs I wanted to,
sometimes you needed keyboards other times 2 guitarists, but we were super tight, the band didn't
miss anything . The worst part with the extra player is the room on the stage, but in some of Alice‘s
early days they had a keyboard player just off stage and sometimes a 3rd guitarist . Talk about noisy!
I bet was the dream of a lifetime for you to open for The Dennis Dunaway Project. What‘s Dennis like in
person? I met Alice after a concert once, and he was just a nice, friendly, normal guy, not anything like his stage
persona.
I met Dennis at his first DDP show at Tuxedo Junction he had no idea who I was but he
was very friendly he introduced me to his wife Cindy we talked a little I told him about Alice‘s
Nightmare, he wished me luck and that was all.
I then met him again at the Webster Theatre, his band was opening for some other band . I told him
we should open for you sometime. A week or so later I called his guitarist with the Chance show,
from there it was history.
After you get to know Dennis he is very witty and always cracks a joke , unlike me when he gets
mad he gets real quiet, I go off like a bomb . But Dennis is really serious about his music both him
and I make every studio session. I am happy to be working with him and he is a great talent.
I got to meet Alice 2 times while we were on tour with him. He had no idea I ever did an Alice
Tribute show. I think Dennis would go nuts if he did. In fact we tried to change my appearance but
I think it just made it stand out more. Like trying to disguise something draws more attention to it.
But the first night I met him they took Dennis , Tarik our engineer and myself out to Alice‘s Tour
bus. I wasn‘t in any disguise or makeup, just normal and we all chatted for 1/2 hour or so Alice
offered us a drink but the hardest stuff on his bus was diet Coke but he handed me a water, and I
could see him always staring over my way no matter who he was talking to. It was fun and a big deal
for me.
But even playing live with Dennis and Richie is great.
What‘s on the horizon for you right now? Any holiday gigs?
Our CD will be finished shortly we have 6 of our 10 tracks ready and rough mixes of the last
then it is out to promote it

Yes, I would like to thank a lot of the members of Alice‘s Nightmare who have done so
much some great musicians and great performers Sue Turbessi, Stacey Turbessi, Cheri Burtner,
Joanne Scarlet , Ray Peters, Glenn Carter, Devin Allen, and our musiciansMark Poley, Gordon
Folsom, Forest Allen, Larry Burtner. Larry Botto, Carl Johanson, and others who did one or 2
shows love to you all!
Joe Alice
Currently Joe Von T, until the right name falls in.
Oh yeah, the best time I was ever mistaken for Alice Cooper, was when my family and I went to the
buffet set out for the Alice Cooper show by a catering company for the Scranton Cultural Center in
Scranton, PA (my hometown). We all filled our plates like everyone else in the band and the Alice
Cooper camp and went to sit down at the tables set up for everyone. Then all of a sudden the
catering staff came over to us with cotton table cloths and napkins for us, the rest of the band‘s
mouths just dropped. From then on I was put in disguise.
Links:
www.alicesnightmare.com
www.myspace.com/alicesnightmare_ny_ct
www.5thavenuevampires.com
www.myspace.com/fifthavenuevampires
Photos Section
Actress Brooke Lewis
Michael McCarty
Tom Savini Logo
Warren Zevon
Michelle Tomlinson and Kimberly Amato
Jamie McCall
Warren Zevon
1947 – 2003
The original ‗‘Werewolf of London‘‘
Warren William Zevon (January 24, 1947 – September 7, 2003) was an American rock singer-
songwriter and musician noted for including his strange, sardonic opinions of life in his musical
lyrics, composing songs that were sometimes humorous and often had political or historical themes.
Although his was a cult success, Zevon's work has often been complimented by well-known
musicians. His best-known compositions include "Werewolves of London", "Lawyers, Guns and
Money", "Roland the Headless Thompson Gunner" and "Johnny Strikes Up The Band", all of
which are featured on his 1978 release, Excitable Boy. Other well known Zevon songs include
"Accidentally Like a Martyr", "Mr. Bad Example", "Mutineer" and "Mohammed's Radio".
Along with his own compositions Zevon recorded or performed occasional covers, including Bob
Dylan's "Knockin' on Heaven's Door" and Leonard Cohen's "First We Take Manhattan". He was a
frequent guest on Late Night with David Letterman and the Late Show with David Letterman. Letterman
later performed guest vocals on "Hit Somebody! (The Hockey Song)" with Paul Shaffer and
members of the CBS Orchestra.
During interviews, Zevon described a lifelong phobia of doctors and said he seldom received
medical assessment. Shortly before playing at the Edmonton Folk Music Festival in 2002, he started
feeling dizzy and developed a chronic cough. After a long period of untreated illness and pain,
Zevon was encouraged by his dentist to see a physician; when he did so he was diagnosed with
inoperable mesothelioma (a form of cancer associated with exposure to asbestos). Refusing
treatments he believed might incapacitate him, Zevon instead began recording his final album. The
album, The Wind, includes guest appearances by close friends including Bruce Springsteen, Don
Henley, Jackson Browne, Timothy B. Schmit, Joe Walsh, David Lindley, Billy Bob Thornton,
Emmylou Harris, Tom Petty, Dwight Yoakam, and others. At the request of the music television
channel VH1, documentarian Nick Read was given access to the sessions; his cameras documented a
man who retained his mordant sense of humor, even as his health was deteriorating over time.
On October 30, 2002, Zevon was featured on the Late Show with David Letterman as the only guest for
the entire hour. The band played "I'll Sleep When I'm Dead" as his introduction. Zevon performed
several songs and spoke at length about his illness. Zevon was a frequent guest and occasional
substitute bandleader on Letterman's television shows since Late Night first broadcasted during 1982.
He noted, "I may have made a tactical error in not going to a physician for 20 years." It was during
this broadcast that, when asked by Letterman if he knew something more about life and death now,
he first offered his oft-quoted insight on dying: "Enjoy every sandwich." He also took time to thank
Letterman for his years of help, calling him "the best friend my music's ever had". For his final song
of the evening, and his final public performance, Zevon performed "Roland the Headless
Thompson Gunner" at Letterman's request. In the green room after the show, Zevon presented
Letterman with the guitar that he always used on the show, with a single request: "Here, I want you
to have this, take good care of it."
Zevon stated previously that his illness was expected to be terminal within months after the
diagnosis in the fall of 2002; however, he lived to see the birth of twin grandsons in June 2003 and
the release of The Wind on August 26, 2003. Owing in part to the first VH1 broadcasts of Nick
Read's documentary Warren Zevon: Keep Me In Your Heart, the album reached number 16 of the US
charts, Zevon's highest since Excitable Boy. When his diagnosis became public, Zevon told the media
that he just hoped to live long enough to see the next James Bond movie, a goal he accomplished.
Coincidentally, the film was titled Die Another Day.
Warren Zevon died on September 7, 2003, aged 56, at his home in Los Angeles, California. The Wind
was certified gold by the RIAA during December 2003 and Zevon received five posthumous
Grammy nominations, including Song Of The Year for the ballad "Keep Me In Your Heart". The
Wind won two Grammys, with the album itself receiving the award for Best Contemporary Folk
Album, while "Disorder in the House", Zevon's duet with Bruce Springsteen, was awarded Best
Rock Performance by a Duo or Group With Vocal. These posthumous awards were the first
Grammys of Zevon's more than 30-year career.
He was cremated and his ashes were scattered into the Pacific Ocean near Los Angeles.
***
Warren Zevon
The man who brought us "Lawyers, Guns and Money" talks about everything but.
By David Bowman
Warren Zevon's new record, "Life'll Kill Ya," is prime Zevon. Toxic. Sardonic. Melodic. One song's
refrain is, "My shit's fucked up." In another, Zevon unsuccessfully saws a woman in half. He covers
that old Steve Winwood hit "Back in the High Life Again" with the resigned detachment of
someone sitting on death row in Texas wearing a "Bush for President" button.
Zevon is an acquired taste, like sloe gin ... or capital punishment. He is best known, perhaps, for his
musical stints for the David Letterman show. You may even remember "Werewolves of London,"
his novelty hit in the 1970s. But Zevon is a highbrow. When he was a young man, he was befriended
by Igor Stravinsky. Zevon himself can write a symphony in his sleep. His best rock songs are literate
elegies about lawyers and love and detoxing in Los Angeles.
I had lunch with Zevon recently on the other coast. In New York. At first Zevon seems as terse as an
L.A. private eye.
"Where are you living?" I ask.
"Los Angeles." Zevon spits out the name.
"Where?"
"Hollywood."
"The same place?" I ask. (I'm unintentionally speaking in shorthand. Thirty years ago he lived in
Hollywood. Is Zevon living in the same place?)
"The same place for a long, long time," he answers.
"Where?" I ask again.
"Where in Hollywood?"
"Yeah."
He frowns. "I'll never be more specific than that. It's just a squalid apartment in Hollywood."
"Like Tom Waits at the Tropicana?" I say.
"No," he says, with an edge to his voice. "I don't think Tom Waits lives in the Tropicana anymore."
Oh course. Waits hasn't lived there since the 1970s. The same decade that introduced Zevon records
to the world. I've followed Zevon's personal mythology for more than 20 years. I would have
imagined that we'd lunch in a joint with proximity to lawyers, guns and money (to appropriate one
of his song titles). But we're not. His record company set us up in a tea shop in Chelsea.
Yes, tea. I could have imagined Zevon speaking tenderly of the perfect grip of the Smith & Wesson
model 41 match pistol, but instead I'm sitting here and he's having a conversation with our waitress
about goddamn tea.
When she asks me what I want, I say, "I'll just have coffee."
Long silence.
"We don't serve coffee," the waitress says. She says this pleasantly, but she says it like I must be an
idiot.
I order hot chocolate. "No whipped cream or anything," I insist.
I'm having hot chocolate with Warren Zevon? At least let us talk about handguns. But when I bring
up the subject, he's evasive. I ask if he owns a gun.
"I wouldn't answer that if I did or didn't," he says. "If I had enemies I might want them to think I
was heavily armed and fortified. As opposed to readily available and cheerfully, good-naturedly
available as we know that I am."
I change the subject. "The new record is great. Are you hearing that from people?"
"Not too many have really heard it," he says. "I kinda made the record for six people." He says he
recorded it for the most part at home. "I thought this might be my last album. I gave a tape to David
Letterman and he plugged it on the air. At some point, I played it for Jackson [Browne]. 'I don't
think I'm gong to do anything with it, but I think you should hear it.' We sat in my car and I played
it for him. He said, 'Are you going to do anything with these?' I said, 'I dunno. Maybe not.'"
Brown knew a guy starting a label and Zevon popped a tape in the mail. As ambivalent as Zevon
was, he had a new album.
"Your last few records sounded too much like 'Warren Zevon' records," I say. "The new one sounds
like you're trying."
"I'm always trying exactly the same thing," he says. "I don't have any agenda. No commercial ones."
While the waitress sets up the tea and hot chocolate, I ask Zevon for personal details. He has a
"significant other." He has two grown children -- a son who's a film producer and an actress
daughter. Zevon then asks the waitress for "phony sugar." I look at the menu for food. Everything
is fishy. Does fish go with tea? I don't want fish. I ask for something "bread-ish." She suggests
scones.
Zevon doesn't want anything to eat.
"Is your health OK?" I ask.
"I hope so," he answers slowly. "I think so."
"I'm not asking because you're not eating," I tell him. "There are three different songs about health
on the new record. ["Life'll Kill Ya," "My Shit's Fucked Up" and "Don't Let Us Get Sick."] It made
me think, 'I hope he's OK.'"
"It made me think that, too," Zevon says, sipping tea. "But I try not to think about it too much. I
write songs about things that I'm simultaneously trying to not think about."
I'm silent a moment. "Do people expect you to be a Graham Greene type?" I say.
"I'm more like Mao," he answers. "He was a nicer fellow. He was a lot better writer. Don't you
think?" I don't answer right away. "Can I get a witness?" he asks.
I smile. "My favorite Mao quote goes something like, 'After the enemies with guns have been wiped
out, it will be time to wipe out our other enemies who do not have guns.'"
Zevon smiles. He won't talk about guns. He takes a long sip of tea, then says, "The fact of the
matter is, what I am actually, no one ever talks about. I'm actually an art guy."
"An art guy?" I repeat.
"Yeah. An art guy. That's my job. That's what I know. I know an encyclopedic amount about visual
art. Poetry. And music. Classical music especially. All that stuff. That's the actual rest of my life."
"Didn't you go to Juilliard?" I ask.
"No," he answers softly, "I didn't finish high school." He then reveals he wrote a classical piece a
couple of years ago.
"What happened to it?"
"Nothing."
"Could something happen if you wanted it to?"
"I suppose so. It's an orchestral piece. Maybe there are orchestras that will play a kind of pleasantly
modern piece by someone mildly famous. I assume it's kind of good. I played it for a couple of
people. I'm missing an ambitious link in the presentation."
I ask him what that means. He tells me, "I have a tendency to finish things and say, 'That's good.'"
He pauses. "Frankly, when I finished the initial part of this record I wasn't sure whether I wanted to
do anything with it. One is conflicted by the need to make a living, too. Something presents itself
and you have to write this theme for a TV show. And they'll humiliate you and it will be hard work
and you'll get paid and it will be great."
"Have you done that?" I ask.
"Yes indeed," he says, and tells me about writing music for William Shatner. Zevon even does a
wicked imitation of Capt. Kirk saying, "Wait! Don't we need more driving guitars here?"
"Hollywood is the big nipple for writers," I say. I get my scones. "I'd sell out in a New York minute
if I actually had something anybody wanted to buy."
"You should," Zevon says. "You should. Distinctions are kind of vague between art with a capital A
and art with two R's, don't you think?"
It's a rhetorical question. I don't answer. Instead I dunk my scone in my hot chocolate.
"Which is better," Zevon asks, "the screenplay that William Faulkner wrote for 'The Big Sleep' or
'Absalom, Absalom!'? Which is better: 'Chinatown' or 'Tender Is the Night'? I had this discussion
with Ross Macdonald once."
"The last one is easy," I say. "'Chinatown.'"
Zevon gives a friendly smile. "That's what he said. Absolutely. And Macdonald was a great
Fitzgeraldian. In other words, I don't think you can sell out. No one is interested. It's important to
have those kinds of issues for yourself every day, but no one really cares. They shouldn't care. The
distinction between a decent sitcom and what went on in the Brooklyn Museum of art are for others
with idler hands than ours to play around with, don't you think?" Without waiting for an answer, he
continues, "I started out in life writing serial music when I was 12 years old. Writing [Pierre] Boulez
and [Karlheinz] Stockhausen. So I know a little something about self-declared fine art."
"What exactly is 'serial music' anyway?" I ask.
"Twelve-tone music," he says, then rubs his face. "Oh God, you don't want to know. It's a paradigm.
A technique. It's a way to cloak an uninspired composition. With simple melodic music, you know
right away it's bad."
"How did you learn it as a kid?"
"Just like a model airplane kind of deal," he answers.
I ask, "Were you a prodigy?"
He shakes his head. "I don't think I was prodigiously talented. But people took an interest in me.
Robert Kraft. Know who he is? He's a writer and a conductor. I think he tried to get a grant for me
when I was a teenager."
"How did you go from 12-tone to rock 'n' roll?"
"Peer pressure. Puberty. There's more that's better in popular music than classical music. Classical
music was popular music in the 19th century."
I ask him, "What led you to stake out the noir 'Roland the Headless Thompson Gunner' genre?"
He answers, "It just sort of happened. I wrote like what I'd always read and what was in the movies.
I read every word of [Norman] Mailer growing up. And [John] Updike. And not being in school I
hadn't read the classics. [Thomas] McGuane once told me that he read Flaubert for my sins. If I
thought about it, and I may have, I thought, 'I'm sure popular music is supposed to be like this.'"
"Did Jackson Browne help you get started?" I ask.
He doesn't really answer the question, but he does. "I was always starting. I always worked as a
musician one way or another. Jackson Browne comes along every 15 years and helps me get a job as
Warren Zevon. I've done other things. TV themes. The first thing I did in the 1960s, when I was a
kid, was write commercials."
He tells me that he scored the famous ketchup commercial where a whole tomato sits on the bottle
and then magically appears inside. As he talks, Japanese flute music starts playing. (God, I really hate
this tea joint!) At this point, Zevon notices that I'm carrying a book about suicide with me. I tell
Zevon I once interviewed the woman who wrote it. "She claims only maniac depressives kill
themselves," I say, and then tell Zevon, "I've always believed if things got really bad -- if my shit ever
got really fucked up -- I'd kill myself rather than go to a concentration camp or something."
"Do you?" he asks me, raising an eyebrow.
"Yeah," I answer. I polish off a scone.
"I think that's a mistake," Zevon says.
"Why?"
"We don't know enough shit." He says that and the Japanese flute starts really wailing away like the
soundtrack to an Akira Kurosawa movie. "We don't know enough to make any decisions. I wouldn't
set myself up to make those decisions."
"My wife is into the Eastern shit," I say, pointing at the air as if the flute music was visible.
"And she doesn't agree with you, does she?" Zevon says.
"No," I answer. "The karma of it --"
"No," he says quickly. "It's not just the karma. The Tao says, 'Old men like being old and young
men like being young. And good is good, and bad is good too.' As my father used to say in his late
80s, 'It's all good.' But I don't get depressed. I don't know." He raises his teacup. "I'm insane. I'm
fucked up. I have problems. But I don't get depressed and I don't get bored."
He downs the rest of his tea in a single gulp. No gongs ring, but I guess my lesson is over.
Life'll kill ya.
***
Warren Zevon Keeps His Edge -- and His Wits -- On His Latest, An Album to Die For
He's been branded a cynic and a misanthrope, but in reality Warren Zevon is one of the few rock
songwriters who's consistently tried to divine the punch lines of life's cosmic joke. Back in the '70s,
that impulse prompted him to tweak the counterculture with songs like "Lawyers, Guns, and
Money" and twist pop sentiment into the aural equivalent of balloon animals on the tongue-in-cheek
"Poor, Poor Pitiful Me." His sardonic wit lost none of its edge in the intervening years: In fact, he's
grown into a wizened -- and, yes, sometimes curmudgeonly -- persona with aplomb. That persona is
in ample evidence on LIFE'LL KILL YA, Zevon's first album since 1995's MUTINEER and one
of his most revealing to date. Yes, he doles out more than his share of witticisms, but listen between
the lines and you'll find that they nestle in tales as poignant and honest as any you're likely to hear.
Talking with columnist Barry Newman, Zevon discusses the art of the one-liner and his life as a
preeminent songsmith.
BN: Five years is a long time between albums, even by your standards. Were you itching to return to
the trenches, as it were?
Warren Zevon: Actually, it was the furthest thing from my mind. I was studying the flute and trying
to learn Russian because I considered myself semi-retired. I knew that my standards of making
records were in conflict with my traditionally abysmal record sales, so I had no intention of making a
record until it became more practical to do so -- at home, under my own control.
BN: Are you one of those artists who has to push in order to write a song, or do things come fairly
easily?
WZ: If I were just writing instrumental music, I could wake up at eight every morning and not have
any problems. But when I start to add bad poetry to the equation, it takes a lot longer. That's the
grotesque part.
BN: Are you drastically different from the snotty guy who wrote "Lawyers, Guns, and Money" way
back when?
WZ: Not at all. I haven't grown in the slightest as a person [laughs]. At 53, maybe I can just express
what I desire somewhat differently. As a songwriter, I'm pretty much drawing on the same ghastly
hybrid of Stravinsky and the Rolling Stones as I always have.
BN: You were, to use a clichéd phrase, something of a classical prodigy as a youth. What was the
catalyst that shifted your attention to rock?
WZ: Puberty, most likely. Also, at a fairly early age, I developed the suspicion that the 20th century
was not really about classical music.
BN: It seems as if much of LIFE'LL KILL YA is about aging -- but isn't that something we're all
doing, even folks in their twenties?
WZ: No! [Laughs] In your twenties or thirties you're not really aware that the hearse is at the curb
and they're going to shovel you out of the way to make room for the new idiots. Everyone who I
talk to who's my age has some recognition of that, particularly famous people who have that second
persona -- the false intimacy. It's like "Warren, you used to be a drunk and my wife drinks too much.
What do you think?" Or, "So you've finally turned the corner [of 50]...doesn't it suck?"
BN: Well, does it?
WZ: If you don't think that life sucks, you're not paying attention to 75 percent of what goes on
around you. But I think this is an optimistic album. The Tao says that the wise man enjoys being old
and sick as much as he does being young and healthy. If you look at it that way, life is pretty
extravagantly delightful.
***
A Visit with Warren Zevon
By Hunter S. Thompson
Warren Zevon arrived at my house on Saturday and said he was in the mood to write a few songs
about Hockey. "Thank God you're home," he said. "I had to drive all night to get out of Utah
without being locked up. What's wrong with those people?"
"What people?" I asked him.
"The ones over in Utah," he said nervously. "They've been following me ever since Salt Lake City.
They pulled me over at some kind of police checkpoint and accused me of being a Sex Offender -- I
was terrified. They even had a picture of me."
"Nonsense," I said. "They're doing that to a lot of people, these days. They're rounding up the
Bigamists before the Olympics start. They don't want to be embarrassed in the eyes of the world
again."
Warren seemed far too frantic to do any serious song-writing, so I tried to calm him down with
some of the fresh Jimson tea I'd brewed up for the Holiday. I knew he was a rabid hockey fan, so I
told him we could watch the Stanley Cup game of TV pretty soon.
"Excellent," he said. "I have come to Love professional hockey. I watch it all the time on TV --
especially the Stanley Cup playoffs."
Patrick Roy's performance in the 2001 Stanley Cup Finals was one to worship.
"Well," I replied with a smile, "tonight is our lucky night. Game 1 is coming up on ESPN very soon.
We will drink some more of this Tea and get ourselves Prepared for it."
"Bless you, Doc," he said. "We can Watch the game together, and then write a song about it." He
paused momentarily and reached again for the teapot.... "This is very exciting," he said eagerly. " I
can hardly wait to see Patrick Roy in action. He is one of my personal heroes. Roy is the finest
athlete in Sports now. I worship him."
I nodded, but said nothing. There was a far-away look in his eyes now, and he spoke in an oddly
Dreamy voice. I could see that he had forgotten all about his troubles in Utah, and now he was
jabbering happily....
When the phone rang he ignored me and picked it up before I could get to it. "Patrick Roy fan
club," he said. "Zevon speaking. We are ready for the game, here -- are you ready?" He laughed.
"Are you a Bigamist? What? Don't lie to me, you yellow-bellied pervert!" Then he laughed again, and
hung up.
"That will teach those Bigamists a lesson," he chuckled. "That fool will never call back!"
I jerked the phone away from him and told him to calm down. "You're starting to act weird," I told
him. "Get a grip on yourself."
The game was the most dominating display of big time hockey either of us had ever seen. The
Avalanche humiliated the favored defending champion N.J. Devils.
Patrick Roy got his shutout and "could have beaten N.J. all by himself," Zevon boasted. "He made
midgets of us all. I will never forget this game. Our song will be called 'You're a Whole Different
Person When You're Afraid.' "
Which proved to be true, when we played it back on his new-age Hugo machine 40 hours later.
Zevon is famous for his ability to stay awake for as long as it takes -- often for 85 or 90 straight
hours. "I wrote 'Hit Somebody in 75 hours,' " he said, "and look what happened to that one."
Indeed. It rocketed to the top of the charts and was hailed as "the finest song ever written about
hockey" by Rolling Stone and "Songs of the Rich and Famous."
Warren Zevon is as adept at songwriting as he is with a .44 magnum.
Warren Zevon is a poet. He has written more classics than any other musician of our time, with the
possible exception of Bob Dylan. ... He is also a crack shot with a .44 magnum and an expert on
lacrosse -- which we also watched while we worked. He went wild when Princeton beat Syracuse for
the NCAA Championship on Sunday.
He disappeared in the middle of the night, still without sleep -- saying he was headed to Indianapolis
to write a song with Colts owner James Irsay, who just returned from buying Kerouac's original
manuscript of "On The Road" for $2.43 million at Christie's Auction House in New York. Irsay is
another one of Warren's heroes.
Warren is a profoundly mysterious man, and I have learned not to argue with him, about hockey or
anything else. He is a dangerous drinker, and a whole different person when he's afraid, which
wasn‘t very often.
***
Warren Zevon on the Loose in Los Angeles
By Dave Marsh / October 1978
In the opening lines of the title song from Warren Zevon's new album, Excitable Boy, the title
character smears Sunday pot roast all over his chest. It seemed to me only reasonable to ask why.
"Because he likes it so much. Because my wife's such a great cook, of which I'm physical evidence,"
says the author, poking his thickening middle. "And it happened, it really happened. She made an
amazing pot roast and I just opened my shirt and smeared it on my chest."
Zevon takes another sip of his "phlegm cutter", a couple of fingers of Stolichnaya vodka with which
he's been dosing himself all afternoon. He doesn't look excitable sitting in his East LA living room,
yet this has not been an inauspicious day. While we were on the phone this morning, arranging to
get together, Linda Ronstadt's new single, "Poor Poor Pitiful Me", came on the radio, the first
broadcast either of us had heard. Zevon wrote that song, and it's one of three that Ronstadt has
recorded from his debut LP.
At the moment, Ronstadt's versions of his songs are Zevon's chief claim to fame, which is
unfortunate since he's such an assaultive performer. But it's an improvement over his status in mid-
1976 when people paid attention to his first Asylum album because it was produced by Jackson
Browne, an old friend. Excitable Boy, however, has been widely anticipated for Zevon alone. Browne
produced again, along with "Dirty Waddy" Wachtel, the guitarist with whom Zevon's been hooked
up since a 1970 Everly Brothers tour. Browne's and Ronstadt's patronage is misleading. Zevon's
piano based rock is harder than anything else in Southern California, and while his songs use the
same backdrop as the Eagles and Browne, his lyrics, with their population of street characters and
half-mythic imagery, are more like Randy Newman meets Bruce Springsteen than any of the other
Hollywood cowboys.
To me, Excitable Boy sounds ferocious, all growling guitars and driving drums. To Zevon, "it's more
wholesome than my last album. Because of the spirit of fun. Fun is my idea of art-fundamentally, I
mean". Of his penchant for punning, Zevon says: "My wife gets more exercise from shuddering
than from picking up the baby."
Zevon's living room is dominated by the tools of the trade: a piano and boom mike hooked up to a
Nakamichi cassette deck. It's a working room, not that he's what you'd call a prolific writer. "My job
is more being miserable between songs than developing one idea for a long time to the point of
exhaustion. It's difficult to wait, but there doesn't seem to be much to do except travel around,
looking for something like that. Which is kind of like leading from your chin, but I don't know
anything else to do."
Zevon's chin led him to the Hollywood rock scene in the mid-Sixties. He wrote B-sides under the
wing of Bones Howe for such acts as the Turtles, cut a few singles himself and did an occasional
session as a twelve string guitarist. After an early, hotshot guitar solo LP (the long-deleted Wanted
Dead or Alive on United Artists) and a stint as the Everly Brothers' band leader, he and Crystal, his
wife, bought one-way tickets to Europe in 1974 and drifted across the continent to Spain, where
they came upon an Irish bar in a small town just outside of Barcelona. Zevon got a job as a pass-the-
hat singer of Irish songs, and was planning to remain until he got a letter from Browne asking if he'd
like to come home and record.
The bar owner was David Lindell, who wrote the lyrics to "Roland the Headless Thompson
Gunner", a modern Ichabod-Crane-as mercenary-guerilla story that is one of Excitable Boy's best
songs. "Lindy" Lindell is an adventurer by trade - his business card lists him as a guerilla and
mercenary soldier, among other occupations - which is somewhat typical of the rather improbable
cast that populates Zevon's existence.
"We (Zevon and his wife) just tend to shake our heads in amazement that we know such a cavalcade
of strange people," he says.
Not that Zevon might not be the prime exhibit in someone else's cavalcade. Unlikely as it seems,
coming from someone who didn't go to college "because I didn't have the grades", his conversation
rambles from Stravinsky to Van Morrison to Jimmy Webb, Spillane to Sontag to Raymond Chandler
and Norman Mailer. I'd call him a visceral intellectual, except that he reminded me earlier of
Chandler's advice: "Eddie, don't get complicated. When a guy gets complicated, he gets unhappy.
When he gets unhappy, his luck runs out."
Zevon says life is much less complicated dealing with notes, which may be why he's running in luck
lately. He'll begin touring late in February, taking Crystal and their 18 month old daughter Ariel
along. Meantime, he's thinking of moving to New York for a change of scene, both personal and
musical. And, to celebrate his 31st birthday, he bought a .44 Magnum. When he got it home, he
threw up.
That excitable enough for you?
***
Warren Zevon Deconstructs Elvis
TORONTO -- Elvis Presley has inspired many songs, but one of the strangest may very well be
Warren Zevon's "Porcelain Monkey," a track on his newest album, "Life'll Kill Ya."
Like many of the songs on the record, "Porcelain Monkey" focuses on the wasting effects of age and
seems to lament Presley's steep fall from grace.
"He threw it away for a porcelain monkey,

Gave it all up for a figurine
He traded it in for a night in Las Vegas. And his face on velveteen"
In fact, Zevon says he has been on the record about his lack of enthusiasm for the King Of Rock
'N' Roll since Presley left this mortal coil in 1977.
"I have written one letter to the editor in my life and it was to Rolling Stone when Elvis died,"
Zevon says while kicking back in a Toronto hotel room.
"I said it was terrible that Elvis had died. He was a great American, whatever. But Robert Lowell had
just died, and he had a great voice, too, and no one on earth knew or cared," Zevon says, referring
to the author of the poetry collections "Land Of Unlikeness" and "Life Studies."
"Robert Lowell, aside from being one of the greatest of all poets this century, he was insane. He was
one of those guys who stood up in front of those 'Ban The Bomb' buses and got mowed down, and
marched on the Pentagon, in between bouts of manic depression. All kinds of things. But nobody
gives a shit. Nobody remembers him."
Zevon is dressed in black, with two shiny black acoustic guitars resting on nearby furniture. Later in
the day, he'll perform on "Open Mike With Mike Bullard," followed the next night (Friday) by a solo
show at the Horseshoe Tavern.
The purpose of the trip is to promote "Life'll Kill Ya," his first new release in five years, but he so
warms to the topic of Presley that when his publicist knocks at the door to end the interview, he
requests a chance to go into extra innings in order to make his point.
"Nothing interests me less than Elvis Presley," he says flatly.
So how did he come to write a song about a topic he finds so uninteresting? He was working with
collaborator Jorge Calderon, when he noticed a postcard in his friend's notebook, showing the
interior of Graceland's garish TV room -- including the faux simian mentioned in the song.
"We were writing a song, Jorge and I, as we do, sitting on the davenport of despair, the divan of
doom. I looked over at his notebook and I noticed his postcard of the TV room. And I said, what's
that?"
"That is Elvis' porcelain monkey," Calderon replied.
"I said, 'Let's go!'
"We did intensive research, which I found dull and distasteful. I think it is a very sad story, and not
an interesting sad story, just a sad story," he says, quoting his own lyrics: "'He had a little world, and
it was smaller than your hand.'
"I don't dislike him. Not being interested in something is not like active dislike. It's not that I don't
like him. I think he sang great. I think he was a great actor, too.
"I've never been to Graceland. I wouldn't dream of going to Graceland. It may just be that I have
my own priorities, or I am a certain type of snob. But I thought very seriously about going to Glenn
Gould's grave here (in Toronto). But I'm not interested in Graceland."
What it comes down to is Zevon has serious misgivings about Presley's deification as an innovator,
and included a 'har-har-har' refrain in "Porcelain Monkey" as a tribute to the black blues singer
Wynonie Harris."It was to remind people there were other people other than Elvis," Zevon says.
"We're in a world that objects so strenuously to pop culture. Sure, Elvis is fine, so what's wrong with
Ricky Martin? He can dance. I guess Elvis danced. He choreographed himself. What's the
difference? I think Ricky Martin is fine, too.
"Who's buying Ricky Martin and Backstreet Boy records? Ten-year-olds. And 50-year-old
intellectuals weren't buying Elvis Presley in 1957. Ten-year-olds were."
But the 50-year-old intellectuals are the ones writing tributes to Presley now.
"Right, partly because they are sentimentalizing their childhood," Zevon says.
"Yes, he was a wonderful singer, he did something that synthesized a culture we will never exhaust
our passion for exploiting and oppressing. Yeah, he did that.
"He furthered the cause of ripping off a culture we've already oppressed for 400 years in my country.
But I don't know how much is individual brilliance, genius, and how much is just the currents of
culture.
"Being at a cultural crossroads can be luck, you know? Don't be absolutely sure that Soundgarden
wasn't as good as the Rolling Stones. They just came 30 years too late to be innovative."
So who has earned the kind of reverence Presley receives?
"Bob Dylan," he says.
"I don't think it is possible to overestimate Bob Dylan's contribution to the 20th century."
He pauses for a moment.
"I don't think there is anything wrong with Elvis," he says again.
"I'm being a little cute about it. I just don't find him very interesting. It's extraordinary how little
impulse there is to define oneself as a human being in Elvis's life. Look at Muhammad Ali. A moral
giant on top of everything else he did."
On the new album, there's also an earnest sounding cover of Steve Winwood's "Back In The
Highlife," which Zevon says was intended to be ironic. Similarly, on a recent tour, he performed a
cover of the song "From A Distance" -- best known as a hit for Bette Midler -- which he considered
to be a "fabulously ironic" song, but which was greeted with disdain when he sang it.
So is it a hazard of his job to have his irony misread. Is it wrong to assume everyone is in tune with
your sense of irony?
"Yes, it is wrong," he says.
"Sometimes you do something that is funny, and maybe your main talent is being funny. The more
you give serious answers, the more they laugh. The serious answers become funnier to people than
your humor. That's when they really howl, when you tell them what you did that morning."
Maybe when people are confronted with honesty, they find it ..
"Disquieting? I guess so."

***
Balls the Size of Cantaloupes

By John Feery
{NOTE: This is not the original title of the piece, but both the contributor and I liked this line
much better.}
Here's one for the wannabe obituarist: how do you sum up the achievements of a great artist when
he's not dead yet? How do you write a decent obituary when the corpse-to-be is doing such a good
job of it himself?
Warren Zevon was right. His last album, released in 2000, was called Life'll Kill Ya, and in his case it
has - or soon will. His next, already out in the UK, will be his last, in a terminal sense. It's called My
Ride's Here, and, yup, it's parked right outside, with the meter running backwards down to zero:
Zevon is dying of inoperable lung cancer. Titles from his work take on an eerie resonance with the
news of his approaching demise: Don't Let Us Get Sick; Things to Do in Denver When You're
Dead. Then there's that photo on his Rhino anthology: a skull in sunglasses, smoking a cigarette.
Announcements that he was dying were accompanied with the kind of quip that Zevon's admirers
revere him for: "Really, the thing I want is to last through the winter so I don't miss the new James
Bond movie," he told the LA Times recently. "And I want to wear sweaters, a scarf, the overcoat,
the whole thing, like a Winona Ryder movie."
A classically trained prodigy, Zevon hit Los Angeles in the late 1960s, arranged and conducted the
orchestral sections on his own albums, but also had a keen ear for meathead rock riffs like the one in
Lawyers, Guns and Money. In the singer-songwriter boom of the early 1970s, Zevon found himself
not in the platinum-sales column of the ledger, but bracketed with the difficult, superliterate, LA-
specific talents like Randy Newman, Tom Waits, Steely Dan and, at a pinch, Zevon's mentor
Jackson Browne.
It was Browne who first nailed Zevon's musical universe: "He's the first and foremost proponent of
song noir." Zevon's songs teem with losers, drunks, failures, killers, rapists, and garden-variety
Tinseltown psychotics - all the debris that gets swept out of the Hollywood bars at 2am. The French
Inhaler mourns a failed, drunken beauty ("Your face looked like something Death brought with him
in his suitcase"); Carmelita is an LA junkie's midnight reverie ("I pawned my Smith-Corona/ And I
went to meet my man/ He hangs out down on Alvarado Street/By the Pioneer Chicken stand"), and
one of his poetic masterpieces, Desperadoes Under the Eaves, contains perhaps the best couplet of
his career, and one of the best ever written about LA's underside: "And if California slides into the
ocean/As the mystics and statistics say it will/I predict this motel will be standing/Until I pay my
bill."
Somewhere in the middle distance, you can hear Randy Newman's Little Criminals gearing up to rob
that gas station. Meanwhile the Nighthawks at the Tom Waits Diner growl dementedly to
themselves, Steely Dan's Show Biz Kids are "makin' movies of themselves/ Cuz they don't give a
fuck about anybody else", Ry Cooder goes "Down in Hollywood" (a sleazy, scary trip), and Browne
asks plaintively, "How long have I been drifting away?" This is the midnight Hollywood they all
once trod, then rendered in song, and of which Zevon was the honorary mayor.
Intimidatingly well-read, Zevon can quote Kierkegaard at will, knows his pulp fiction backwards,
and draws a goodly number of his songs from the headlines. His latest album is full of songs co-
written by writer-fans who have become his friends. They include Hunter S Thompson, an anti-role
model for the younger Zevon, novelist Carl Hiaasen, whose Florida is a parallel noir universe to
Zevon's Hollywood, and Irish poet Paul Muldoon. I'm guessing none of these guys will show up on
the next Jewel album.
But let's not feel sad, because the corpse-to-be doesn't. "I feel the opposite of regret," he says. "I was
the hardest-living rock on my block for a while. Then for 18 years, I was a sober dad of some
amazing kids. I feel like I've lived a couple of lives - and now when people listen to the music they'll
say, 'Maybe the guy wasn't being so morbid after all.' "
Musical genius, gifted writer, indubitable king of narcotic and alcoholic excess, Zevon now shows us
that, in the face of oblivion, he also has balls the size of cantaloupes. You've just gotta love this guy -
but do it while you still can.
***
Warren Zevon / Artemis Records / 2003
Time – 3:28
Album: The Wind
Keep Me In Your Heart

Shadows are falling and I'm running out of breath
Keep me in your heart for awhile
If I leave you it doesn't mean I love you any less

Keep me in your heart for awhile
When you get up in the morning and you see that crazy sun
Keep me in your heart for while
There's a train leaving nightly called when all is said and done
Sha-la-la-la-la-la-la-li-li-lo
Sometimes when you're doing simple things around the house

Maybe you'll think of me and smile
You know I'm tied to you like the buttons on your blouse
Hold me in your thoughts, take me to your dreams

Touch me as I fall into view
When the winter comes keep the fires lit
And I will be right next to you
Engine driver's headed north to Pleasant Stream

These wheels keep turning but they're running out of steam

Dacre Stoker
Iron Dave Interview

With Dacre Stoker {Dec. 1 2009}
Good morning to you, Dacre. How are you on this chilly November day?
I feel great, the weather is quite pleasant here in Aiken, S.C.
Your first name is very unique. Where do your ancestors hail from?
Dacre is actually an old family Irish surname. I was named after an Irish cousin who was also
my godfather, Commander Henry Hew Gordon Dacre Stoker. He was a celebrated submarine
commander for the Australian navy in WW1, later a stage and screen actor in London, and at the age
of 77, the Irish croquet champion.
I understand you now reside in South Carolina. Was that a bit of a ''culture shock,'' compared to Canada?
{Laughs}.
You know, I am the type of person who is able to fit in to almost any surroundings, and
adapt to the culture around me. Aiken is not a typical southern town; it is rather cosmopolitan, and
considering the winters in Canada, the weather in the south is a real plus. I have found the town to
be very welcoming and appreciative of all of us who are able to contribute in a meaningful way.
People from all over the world relocate here to work or retire, and to take advantage of outdoor
recreation, such as golf, tennis, and any number of equine disciplines.
Speaking of different cultures, where was it exactly that the original Dracula legend was supposed to have taken place?
I have heard more than one version, some of which were Romania, Germany, and England.
Dracula was set in Transylvania and England. There were references in Bram‘s notes to
Munich, but those scenes were edited out. History‘s Vlad Dracula was the ruler of Wallachia, now a
part of Transylvania.
Dr. Elizabeth Miller has been very helpful in providing historical sources of interest. She sent me the
Bram Stoker interview by Jane Stoddard, published in the British Weekly, July 1, 1897, (one of the
only known interviews with Bram Stoker).
What follows is an excerpt:
Stoddard: ―In what parts of Europe has this belief (in Vampires) been most prevalent‖?
Stoker: ―In certain parts of Styria it has survived longest and with most intensity, but the legend is common to many
countries, to China, Iceland, Germany, Saxony, Turkey, the Chersonese, Russia, Poland, Italy, France, and
England, besides all the Tartar communities‖.
Stoddard ―Mr. Stoker told me that the knowledge of vampire superstitions shown in Dracula was gathered from a
great deal of miscellaneous reading‖.
Stoker ―No one book that I know of will give you all of the facts. I learned a good deal from E. Gerard‘s ―Essays
on Romanian Superstitions‖ which first appeared in the Nineteenth Century, and were afterwards published in a
couple of volumes. I also learned something from Mr. Baring-Gould‘s ―Were-Wolves‖ Mr. Gould has promised a
book on vampires, but I do not know whether he has made any progress with it‖.
We know that between 1890-1897 Bram Stoker gathered information for Dracula from a variety of
sources. He did some of his formal research in the British Museum and Library, the Whitby Library,
and his research notes reflect individual sources as well. He also incorporated established Irish
folklore and mythology, which he would have been exposed to growing up, with traditions from
other countries.
There are a lot of vampire fiction fans out there who don't even know that Vlad the Impaler was rumored to have been
the basis for the Dracula legend. Is there any truth to this?
One of the greatest ongoing debates amongst Dracula scholars and fans, is centered on
Bram‘s knowledge of Vlad Dracula, who was ruler of Wallachia during the mid 1400‘s. Bram made a
very clear reference in his research notes to a book by William Wilkinson, entitled The Accounts of
Principalities of Wallachia and Moldavia 1820.
What follows is an excerpt from this book: ―Dracula in the Wallachian language means Devil.
Wallachian‘s were accustomed to give it as a surname to any person who rendered himself
conspicuous by courage, cruel actions, or cunning‖. This explains how Bram became aware of the
name Dracula, but we do not know the extent of Bram‘s knowledge of the Wallachian ruler. It is
certainly possible that Bram had conversations with people who relayed details of Prince Dracula to
him, but if so, the conversations were unrecorded and unsubstantiated.
The physical resemblance between Vlad Dracula and Bram‘s Count Dracula is uncanny, and
speculation continues to fuel research on the subject. (See In Search of Dracula by McNally and
Florescu.) McNally & Florescu greatly influenced my coauthor Ian Holt, who wrote a screenplay
based on their book. This gave Ian the basis for merging the historic Prince Dracula, with Bram‘s
character Count Dracula in our book Dracula the Un-Dead.
It has always amazed me what an impact the Dracula legend has had on our culture. What, in your opinion, is the
real attraction to the vampire myth? Vampires can be found in romance, Scifi, and thriller novels now.
I think it has to do with a few things:
Vampires were not simply invented in the imagination of one talented writer the way Mary Shelly‘s
invented her horrible monster ―Frankenstein‖. For centuries, vampires have been a component of
the folklore of many cultures.
Over the years Polidori, Le Fanu, Stoker, Rice, King, Whedon, Harris, and Meyer have each utilized
a similar theme combining romance, horror, and mystery while incorporating one or more vampire
characters. Vampires, in their many forms, touch on one particular subject that haunts most of us-
immortality. Various religions give us a formal way to approach life and death, while vampires tempt
us with a fantastic, if dreadful alternative.
When did you first decide to write Dracula the Un-Dead? What was the inspiration?
Ian Holt gets credit for the original idea. He had written a script for the very popular book
―In Search of Dracula‖ intending to introduce the real Prince Dracula to mainstream pop culture. Ian
kept this idea percolating in the back of his mind for years, and finally contacted me about six years
ago to pitch his idea of writing a family supported sequel to Dracula.
Although I was a little skeptical at first my ability to write a book, as we brainstormed, I began to
understand how my collaboration with Ian could satisfy my deep desire to bring Bram Stoker well
deserved recognition he deserves. Ian and I realized that in order to be successful, we would need to
approach the subject differently than others who have written sequels or follow up stories based on
Dracula.
Ian and I researched Bram‘s own notes that he compiled to write Dracula which gave us insight into
his characters and his thoughts. We picked up the action with the surviving characters who survived
Bram‘s book, and added characters Bram listed in his notes, but who for whatever reason, were not
included in Dracula.
As Ian and I made progress over the years, I became confident that my family would be proud of
our book. I began to discuss it with family members, including Bram‘s great grandsons in England
who are the closest living relatives to Bram Stoker. My concept made sense to the family: our story
could put the spotlight back on the book and the man who spawned the vampires who have
resurfaced again with a vengeance.
Being a ''blood'' relative { no pun intended} to Bram Stoker, have you had many of your fans ask you the question,''
Wow! Are you REALLY related to that guy who wrote Dracula?!''
Put it this way, once a year for about three weeks surrounding Halloween, it is like your
favorite baseball team is in the World Series. Stokers have our own Fall Classic with Dracula. During
October, our friends look at us a little differently, joke about trick or treating, and whether it‘s safe
to show up on our doorstep for candy or blood. They wonder if we‘ll be serving Bloody Mary‘s.
And yes, once the connection is made, a common response is, ―but you seem so normal, what was it
about your relative that inspired him to write such a scary novel‖?
Was a lot of extensive research involved in writing the book?

Our research took a few different forms. Bram‘s notes for Dracula, which are in the
Rosenbach Museum, were certainly the lynchpin. Also, in order to realistically portray Bram as a
character in our book, I tried to learn all I could about Bram Stoker as a man, and to consider
Dracula in the context of Bram‘s life.
Being fascinated by Dracula since an early age, Ian had done a lot of background research into Prince
Dracula, as well as the different versions of Count Dracula on stage and screen. Ian and I enlisted
Alexander Galant, a professional researcher, to help us with period street maps, locations, proper
dialects, etc. He placed us in London, Paris, and the other settings to accurately reflect details of the
sights and sounds of 1912.
Various other sources provided insight into Bram‘s own research and thought processes. For
example, the preface of the 1901 Icelandic translation of Dracula gave us a rare glimpse into Bram‘s
knowledge of Jack the Ripper murders, which were going on at the same time he was writing
Dracula.
Ian and I knew a sequel to a classic novel always invites scrutiny, and because Dracula is presumed
dead at the end of Bram‘s book, we would have to justify a sequel. A copy of the original manuscript
of Dracula includes an alternate ending for Dracula, which was much more conclusive than the
ending which made it to print in 1897. The other ending would have precluded a sequel: it is
possible this change was a conscience set up for a sequel.
On that note I will give you another thought to consider; at the end, a knife is driven into Dracula‘s
heart, not a wooden stake. Earlier in the story Van Helsing explained to Arthur Holmwood that he
must drive a wooden stake into his widow Lucy‘s heart, and cut off her head. That he says is the
only way to properly kill a vampire.
Here is a question I have been tossing around lately to mixed reaction: In your honest opinion, do you feel that the
horror genre - whether it be in film or fiction - has slowly but surely become stale, clichéd? You'll have to admit, there
has been a literal renaissance of vampire, zombie, serial killer, and werewolf fiction over the last few years, and the
seemingly endless list of remakes and sequels to classic horror films almost borderlines on the ridiculous.
Vampires have the amazing ability to shape shift and adapt to their environment in order to
survive. They are the ultimate Darwinian predator! Rather than allowing themselves to become stale,
over the past 112 years, we have seen these creatures adapt to a very wide variety of genres. Today,
the very popular Twilight saga depicts vampires as troubled teenagers, and True Blood adds the twist of
vampires being both predators and prey at the same time. The Swedish story ―Let the right one in‖ has
the vampire appearing as a young child. However, all these modern adaptations still follow most of
the same basic parameters, which were established by Bram Stoker for his vampire.
Just out of curiosity, what is YOUR favorite horror film? Book? And NO, you can't say Dracula. { Laughs}.
Other than Dracula movies, I like the Friday the 13th series, and an oldie but goodie, the
Exorcist.
I don‘t read many horror books, but I loved Stephen King‘s Salem‘s Lot.
What's on the horizon for Dacre right now?

I have become very involved with my cousins in Britain, in their capacity as the Bram Stoker
Estate. We plan to raise funds to commission and erect a statue of Bram Stoker in Dublin, his
birthplace, and hopefully in London, through donations as well as licensing and merchandising
opportunities. At present, the only permanent memorial to Bram is a statue in the Borgo pass in
Romania. Bram‘s family in North America, England and Ireland, believes he deserves to be properly
commemorated along side Dublin‘s other great writers.

I realize some people feel I have no right to try to follow in Bram‘s footsteps. Touching a
classic work with a modern sequel is risky business indeed! Believe me, I am fully aware I will never
be the writer he was- but please remember our book is only fiction. I am not trying to rewrite the
course of history or suggest a new theory of evolution. My goal is to simply to provide a
continuation of the horrifying adventure that Bram started, and to bring Dracula back into the
discussion.
Jamie McCall
Iron Dave Interview

With Jamie McCall
Good morning Jamie, how was your New Year's Eve?

POWERFUL. I felt everything coming into alignment for not only the new year, but the
new decade! We had not only a full moon, but a blue moon (2 full moons in the same month), as
well as a lunar eclipse all on New Year's Eve! The dawn of a new decade, and I'm so excited! I
didn't sleep at all that night.
Being a former Naval Officer, what does it feel like to have made such a diverse transition from Navy to actress?
I suppose it does seem like quite a jump, but I was a Protocol and Public Affairs Officer, so
I worked a lot in marketing, speech writing, community relations, magazine editor, etc. All those
skills I've put to good use now in my new career. Plus I was stationed first in Washington DC. If
you think Hollywood's got drama, live & work inside the beltway!
Speaking of diverse, the difference between Puerto Rico and Hollywood must've been a big culture shock, huh?
Boy, you're not kidding there. I've lived many places, but nothing quite like LA. I think it'd
be a culture shock for anyone not from here. I love Puerto Rico, it's my second home. A beautiful
island of beautiful people. I miss it a lot. After I resigned my commission from the Navy I actually
stayed and continued to live there as a civilian. That's where I actually worked my first professional
acting job on a film called "Back in the Day" with Ving Rhames, who became my friend and mentor
for several years following...
I see you landed featured roles in "Grey's Anatomy" and "Pushing Daisies", among others. Why the choice to sign
on for a horror film? Some actresses consider a genre transition like that the "kiss of death" to their career. No
offense.
I don't see it that way at all, as a matter of fact, quite the opposite! I look at the horror film
as a great "launch" role for any actress - just look at Jenn Aniston or Jamie Lee Curtis. Horror films
are always popular and easy to market. They're a great way to get any career started, from actors to
directors to writers. Besides, I don't really see it as a "transition" as I don't have enough to transition
from yet. Every choice I make can only move me up and forward from here...
Your resume speaks for itself: actress, writer, dancer, producer...is it difficult to balance a successful career and personal
life? I mean, everybody gets lonely.
Finding balance is always the ultimate goal and the most difficult for anyone in all walks of
life, of course it's difficult. Of course I get lonely, I'm human. But right now career is my focus, so
I have to push through the loneliness and continue to move forward until I'm in a place where I feel
comfortable sharing my life with someone. Won't be too much longer now.
I hear you were already performing as a child. With a beautiful face like yours, I'll bet you were a real ham for the
camera, weren't you?
Thank you, yes, I started in dance and stage production in grade school. It was always
second nature to me, I loved it! I felt "in my element" on stage, the more people in the audience the
better! I never really had a shy stage, that I can remember. I did go through a very insecure stage,
though, but my parents helped me through that.
Tell me about your book "Living the High Life without Drinking the Champagne". Do I detect a hidden
message in the title?
Yes, you do. I'm a recovered alcoholic sober 8 years. I spent two years dying in hospitals,
emergency rooms & rehabs. I nearly lost my life at a very young age. I had to start my life over from
scratch, including resigning my commission from the Navy. It was the hardest thing I've ever had to
do. I thought my life was over. There were many times I wanted it to be, I was in so much pain and
shame. Now I look at it as a blessing! I had the opportunity to pursue my childhood dreams, with
nothing standing in my way! So I packed up and moved from Puerto Rico to LA, not knowing a
soul, and started to figure it out. Now I'm hob-nobbing in Tinseltown with the best of them,
drinking Pellegrino (mineral water) while others sip their champagne. It can be done. And I'm
having a great time doing it! I'm "high" on life.
Tell me, what is a "spoken word performer"? Is it anything like the artists that used to perform in the coffee shops
back in the 60s and 70s?
There is a whole underground circuit of very talented, prolific people that read their poetry
and other original written pieces on stage or in a room with other artists. The venues vary from
theatres to clubs to lounges...It's a very cool vibe. You may have seen one form of it on HBO's Def
Jam. I don't do it so much anymore, as my focus is solely on acting, but at one time I was very
involved and even brought on as the featured poet, including one trip to Atlanta. It's a very
powerful creative outlet. You can't just get up there and read a poem. It's much more than that. It
takes a lot of courage. I always leave inspired, intrigued and sometimes even educated.
Here's a question I've been tossing around lately to mixed reaction: In your opinion, what is the attraction to the
horror genre? Why do people pay hard earned coin to be scared witless?
That's easy, it's an escape. Just like any other genre of film, people go to get away. The
horror genre has the added element of an adrenalin rush, so if you're an adrenalin junky like me, you
pay your "hard earned coin" to ride the best coasters, jump out of planes (three times in a row!) and
see a very scary flick!
Just for fun, what's your favorite scary film? How about book?
Oh that's a more difficult question, because there are so many! The "Exorcist" is a classic. I
think my favorite genre of all is the supernatural thriller. Anything that could be real. The campy
flicks like the "Friday the 13th" franchise are fun, but they don't scare me, they make me laugh more
than anything, or just gross me out. "Hostel II" freaked me the F out. It had some really intense
scenes. More recently, "Orphan" was well done, while "Drag me to Hell" was hilarious! I loved it
because I laughed the whole time. As far as books go, I'm a huge bookworm. I'm actually kind of an
undercover nerd. I love all of Anne Rice's novels - the Vampire Chronicles and even the witches; now
she's coming out with the Angels series. I'm looking forward to that. I read. A lot. My mother's
favorite is Stephen King. I've read a few of his too, he's pretty good as well.

I'm VERY excited for 2010 and this new decade! This is the year of my launch, when all my
hard work and sacrifice come to fruition. I have several films slated for 2010 already, two of them
horror/thrillers! One is called "The Reapers" filming early spring - basically it's Brazilian voodoo
black magic meets small town middle America. We have a beautiful A-list actress on board that I'm
very excited to work with! Of course, I can't announce who yet. The other one is called "Into the
Basement" after the novel by the same name, filming in Texas this coming summer. I have several
appearances coming up as well, hosting the Elizabeth Film Festival in Elizabeth NJ this spring,
going to visit the WOUNDED WARRIORS at San Diego Naval Medical Center the end of this
month, and another veteran's charity event in Alaska in May! I'm very passionate about working
with veterans, and encouraging sobriety, self-worth, rehabilitation and recovery. I do some
motivational speaking as well. Eventually I want to go visit tthe troops in Iraq or Afghanistan on a
USO tour, so I'm working on that. I'd LOVE to get on the next season of "Dancing with the
Stars"! That's on my wish list.

I'll leave you with my own mantra, applicable to whoever you are and with whatever it is you
want to do! "Do not wait and hope to be discovered...make yourself so you cannot be denied!"
~Jamie McCall
Iron Dave Interview

With
Jason Barnett
{of IMP FX}
Greetings and salutations, Jason. Been keeping busy?

Yes. Looks like a busy 2010.
I've seen quite a few of the films you've worked on, but didn't know you were the FX man behind it all! What first
prompted your interest in getting into the FX field?
Growing up, I developed a love for fantasy and horror films. I read many books on the
subject, including makeup great Lon Chaney, SR. I soon learned that artists could potentially make a
living doing makeup effects.
I see you have worked on major productions, including Hellboy and the remake of Planet of the Apes. What type
of work did you do for Hellboy?
I was a foam latex technician on Hellboy working under Roland Blancaflor at Rick Baker's
studio. We ran a lot of red foam for that show!
How about your work on Hellraiser: Bloodline? Did you work on Pinhead?
One of those troubled productions. I was on Kevin Yagher's crew at the time and basically
helped supervise our suit performer, Jody St. Michael. He played the dog creature. I did not work
on Pinhead, but Doug Bradley is a great guy.
Was it fun casting Bianca Barnett's face for Albino Farm? It's hard to make her ugly, huh? {laughs}.
Bianca loves make up effects, so casting her face was a breeze. Another troubled
production, but Bianca's work, what's seen of it, is great.
In all honesty, I am NOT a big fan of the newer CGI FX. To me, the older ''hands-on'' method - think Rick Baker
& Rob Bottin - were much more realistic, as well as done on a more ''personal'' level. How about you?
I couldn't agree more. It seems make up effects are being skipped over in favor of CGI and
that's sad, because I feel you can achieve far better results with practical effects. Avatar is a perfect
example. Sure they did a fantastic job at creating a cartoon, but if that's the best they have at
creating a realistic fantasy character, I feel practical would've looked better.
Here's one just for fun; what is your recipe for fake blood? I've heard of many different recipes, including one that -
believe it or not - used Kaopectate.
Dick Smith pioneered that recipe with a Karo Syrup base and food colors. You can add a
little liquid soap and water to help it flow naturally. I just make sure I have few different shades on
set for the new blood and old blood scenes.
What's your film ''Bulbs'' about? The title is fairly self-explanatory, but you never know.
Bulbs is about a new homeowners experience with the paranormal. She attempts to handle
the situation herself with very poor results! This was a project I wrote and directed and can be scene
on Youtube.
Some FX artists go on to taking their place in the director's chair. Has this thought ever crossed your mind?
All of the time! I work on so many shows where I lose my mind at the lunacy of decisions
being made. I've written some horror projects for myself and hope to direct soon.
Have you ever had a ''mishap'' on the set, with one of your FX? Any amusing anecdotes to share?
Something always goes wrong. Usually it's the director wanting something that was never
discussed prior to filming. It's just a matter of making sure you have everything in your set kit. I
once misplaced a tube for a blood effect and it was a race against time to retrieve it. The sun was
setting, I was hauling ass on an ATV through the jungle back to the makeup trailer and just made it
in time. The actress' throat was cut, blood spilled and the sun set. A happy ending after-all.

I want to thank all of the horror and fantasy fans out there!
Roberta Lannes Interview with Iron Dave
Roberta: Hello, David--It's my pleasure to know you, call you friend, and now learn
more about you. I've got a load of questions, so I hope you're ready!
Iron Dave: The feeling is mutual, and I'm as ready as I'll ever be, babe. Shoot.
Roberta: Can you remember the moment in your youth when you realized you loved
horror? What, in hindsight, was the evolution of your fascination?
Iron Dave: Well, I first realized my fascination with the horror genre when I was about 8
years old. My 3rd grade teacher, Betty White, was holding a ''scary story contest'' for Halloween that
year, and the first prize was a HUGE bag of Halloween candy. So naturally, I wrote up a story for
the contest. It was called ''Bats,'' and was about two vampire bats who were my secret friends, and
would take up for me when one of my classmates would pick on me. I was a bookworm, you see,
and at my grade school, the bookworms were marked for death by the local bully. The story was, in
all honesty, a ''creative outlet'' for my childhood fears.
Anyway, in the story, the bully was picking on me on Halloween night - stole my candy - and I
summoned my two bats to gobble him up. It was the winner of the contest, and my mother was
mortified when she read it. But, I won the candy, and one of the little girls in my class had a crush
on me, so all was well!
In later years, it was the old Hammer films, and old comic books like Tales From The Crypt that got
me interested in the horror genre again, and I still enjoy it to this day.
Roberta: Ahhh, the power of sugar and females… So you were a bookworm when you were young. What were your
favorite books/authors growing up? What turned you off? And how did the good and bad stuff influence your tastes?
Iron Dave: I was not only a bookworm, but an avid reader of fiction as well. My main study
subjects in school had been spelling, English, and creative writing, so it was just natural to be drawn
to reading and writing fiction. I read Poe and Lovecraft in grade school, and went on to read the
masters like Stephen King and Clive Barker later on. To me, these men were true visionaries in the
horror genre, and although I knew my own writing would never hold a candle to theirs, I still
wanted to use their influence to keep my inspiration going, hang in there when times were tough. I
must have received around 100 rejection slips before making my first sale, a story called ―Dead
Birds‖, about a little boy who lived in a small farmhouse with his grandmother, and after she died,
he'd kill birds and shove the bird guts down her throat to keep her ''fresh.''
It was a mortifying tale, and had to be ''toned down,'' before the magazine would even publish it.
The magazine is defunct, now. What a bummer.
Least liked writers? Hmm...well, I can't honestly say that there any writers I actually dislike, but
there were certain ''styles'' of fiction I didn't care much for; really GRAPHIC Splatterpunk, the
subgenre of Scifi/horror, and, most of all, zombie fiction. To me, there isn't much scary about
drooling, staggering, mindless, smelly, flesh-eating sub-human waste walking around gobbling up
people's innards. It isn't scary, it's stupid. I'll have to admit I have seen some zombie movies I found
amusing, but that's as far as it goes. It seems to me that a lot of writers have lost their grasp on what
TRUE horror really is, as well as divided it up into so many sub-genres, the reader doesn't know
where true horror begins or ends. It's a shame, really. Horror has grown stale, clichéd.
Roberta: So define TRUE horror for us. I once heard a horror author describe his genre as having ―one true
purpose—disturbing the reader.‖
Iron Dave: Now first of all, don't take the term ''true horror,'' the wrong way. I am not
suggesting that a lot of the popular horror writers have not put out some really good fiction, because
it wouldn't be true. What I meant by ''true horror,'' was the fact that I believe that writers like Poe,
Lovecraft, and Stoker were the true ''pioneers'' of horror fiction, and I guess in the past, I based my
personal opinions on that. No offense intended toward anyone. And sure, if a writer accomplishes
what he or she sets out to do with their work, then more power to them. That's what all writers of
horror set out to do, I think, is to achieve the desired effect they set out to achieve with their fans. I
will say this, though; I firmly believe that a lot of today‘s writers { of horror fiction} have left out
one key element I believe is crucial to their work – depending on the plot, that is – and that is a sense
of humor. Here is a perfect example; Michael McCarty‘s new vampire satire, Liquid Diet. It is a prime
example of horror and humor being combined successfully. Another fine writer who can pull it off;
Joe R. Lansdale. I recommend you seek out books by these men ASAP.
Roberta: What about film? Have you always loved horror movies or did you find yourself
attracted to other noir sorts of movies?
Iron Dave: Hmm...well, I am a big fan of the 80s slashers. Now, mind you, a lot of those
films were pretty much the same-old-same-old, too, but, it was something NEW, and it spawned a
lot of the horror film icons that are still popular today. Case in point; the character of ''Pinhead''
from the Hellraiser films by Clive Barker. To me, he is the epitome of the true horror film icon, the
personification of horror. As far as noir films, it depends on what you mean by ''noir.'' Nowadays,
there are a lot of noir films around, and that term has been divided into sub-genres, too. Horror-
noir, scifi noir, and so on. Personally, I like the ''crime noir,'' or ''dark noir'' types of films, like the
Cohen Brothers 1984 film, Blood Simple, or Sam Raimi's A Simple Plan. Noir films actually began a
long time ago, in old Hollywood films that showcased popular characters like Mike Hammer and
Mickey Spillane. Films like The Maltese Falcon. It seems there are no longer any ''true noir'' films
around, either. Movies like Lock, Stock, and Two Smoking Barrels
aren‘t true noir; it doesn‘t take gratuitous violence and offensive language and senseless dialogue to
make a good noir film. Another dirty shame. Things have to be kept within the right context to be
believable.
Roberta: When you were all grown up (if you consider yourself at all grown up--wink,
wink), which authors, filmmakers, directors, actors became inspirational?How?
Iron Dave: Well, I consider myself about as grown up as I am ever going to get, I guess. At
50, it's hard to act young and toss caution to the wind, unless you want to have a stroke. My main
worries at being ''grown up,'' are high blood pressure, hemorrhoids, and the rising cost of cigarettes.
Don't get me started, please.
Roberta: That‘s a whole other interview!
Iron Dave: You got that right! Back to the subject at hand, I'll start with fiction, first.
Inspirational? I'd say King and Barker are still on my top ten list, along with my buddies Joe R.
Lansdale, Chet Williamson, and YOU, of course. Your story ''Goodbye, Dark Love,'' from the first
Splatterpunks book has always remained one of my favorites, and it even inspired me to write a story
of my own about ''a woman scorned,'' entitled ―The First Cut Is the Deepest‖. I have only dreamed of
being in the same class as you, as far as writing ability, but, we are now friends, so that is something
much more valuable than any story or book. {wink-wink}.
Roberta: Back at you!
Iron Dave: Here‘s my film list then…

Filmmakers/directors: John Carpenter - director of Halloween
Ridley Scott - director of Alien, Hannibal
The Cohen Brothers - directors of Blood Simple, No Country For Old Men
Just to name a few. Actors/actresses? Okey dokey:
The ladies:
Pauley Perrette - star of NCIS - she is absolutely ADORABLE.
Emily Proctor - star of CSI Miami - tough, yet fair and sweet. And a beautiful smile.
The guys:
David Caruso - CSI Miami - tough, hard-nosed, bad-ass, yet good hearted, and loves children.
Mark Harmon - star of NCIS - same as David Caruso in character traits.
Just to name a couple.
And how did these people inspire me? It's simple; they have all had to overcome personal tragedy
and tough obstacles in their life, yet have managed to keep a sense of grace, integrity, and style, and
are very underrated, in my opinion. People that work within the horror genre aren't the only ones
with talent, you know.
Enough said.
Roberta: Have you met any of these people? How?

Iron Dave: None of them, unfortunately, except for Pinhead himself, Doug Bradley. In
person, he is very polite, intelligent, and caring person. Very sociable, too. He stood with me outside
the auditorium where he was speaking for about twenty minutes, just talking and smoking cigarettes.
He was really nice.
Roberta: Pinhead. Very cool. How did NVH come into existence? Did you see a need that wanted filling or was it
something you felt a burning desire to create?
Iron Dave: Well, it went live on the net back in December 2007 on the premise we were
going to showcase new writers, ones who hadn't had any luck submitting to more ''upscale'' horror
mags. I felt it would be a good venue for the unknown writers of horror to show just how much
recognition they really deserved for their writing. Believe me, I have pulled books off the local
library shelves that wouldn't even hold a candle to some of these unknowns. I thought that was a
shame, so I decided to do something about it.
It was a success until about two or three months ago, when the combination of the crushing
economy and general lack of interest by my readers lead me to close it down. I have now opened
NVF Films, a small indie film company that promotes indie filmmakers and I have three films in the
works right now that I am acting as producer on. Things are looking up a tad bit now, and maybe
2010 will be better. Keep your fingers crossed.
Roberta: Note—fingers crossed! Only good things should come to you.

If your friends were asked "What's David Byron like? What drives him?" what do you think they would say?
Iron Dave: Hmm...well, it might just be more than a tad bit scary to hear what some of them
have to say. Any time you have done a lot of ''social networking,'' like I have, you can make enemies
whether you've done anything to warrant ill feelings or not. Overall, though, I have made some
really good friends, and one of them recently referred to me as ''the hardest working ‗unknown‘ man
in horror,'' which was flattering, but came at a time when I had decided to explore other genres in
fiction and film. Go figure, huh? {Laughs}.
Roberta: It‘s great to get the compliments when you‘re riding the wave instead of on the beach. I know what you
mean. Would you say you've had to face adversities in your life that have taken you off your course? How have these
events or experiences affected your work?
Iron Dave: I've had plenty, but NONE of them have accomplished detouring me for very
long. The deaths of friends or family, personal health issues, financial problems, nothing out of the
normal context, no. But I was raised to believe in myself, and stick to my guns, and that's what I've
always done. Sometimes it isn't easy, but it is necessary to survive life's curveballs. I'm a tough old
fart!
Roberta: When you look to the future, say five years from now--ten, twenty, what would you like your life to look
like? What would be your most important accomplishments?
Iron Dave: Hmm...got plenty of coffee and cigarettes handy? {Laughs}. Well, if I am still
alive then, I'd like to picture myself having become a success at what I've worked so hard to achieve,
and if not, then so be it. At least I can say I gave it my best shot, made a lot of good friends, and
produced a lot of enjoyable books and films. My most important accomplishment?
Remaining who I am now. It has served me well so far.
Roberta: Being true to yourself is tough, so that is a huge accomplishment! Do you have any regrets (that you want
the public to know)?
Iron Dave: A lot of them really, but none worth mentioning here. Wait...I have one, I guess;
the fact that I didn't get to say goodbye to a friend of mine before he died back in 1993. He fell off a
ladder at work, and broke almost every bone in his body, and by the time I‘d found out about it, he
had passed away. I hadn't seen him in almost ten years, and would have liked to say my goodbyes
while he was still alive. But I am sure he will understand why I wasn't there; that was the kind of
great guy he was.
Roberta: That‘s the kind of guy YOU are, remembering the man in your interview. (Warm smile) Then tell me
what makes you laugh? Makes you choke up? Pisses you off?
Iron Dave: My sense of humor is very broad, so it would really depend on what I was
reading or watching. I like older comedies, films like Some Like It Hot with Jack Lemmon and Tony
Curtis, and newer ones like The Game Plan with The Rock. It just depends.
Reading comedy? Believe it or not, some of the stories in the Splatterpunks book series cracked me
up. I don't know why, but they did. There was a story in the first one { the one you were in} called
―Reunion Moon‖, about a 350 pound ex-football player named ''Bubba,'' who had been constipated
for a week, and had to enlist the help of a witch doctor to help him poop. It was a riot. Another
great story in the same book; Joe R. Lansdale‘s ‗‘The Night They Missed The Horror Show.‘‘
Chokes me up? Hmm..sad movies. My cat's litter box. People who don't bathe regularly. (Roberta
laughs here) What pisses me off? Don't get me started, we will be here all day. But here's one
example; Folks who think they poop rose petals and pee champagne, never perspire, and always
look immaculate. They can't be as perfect as they claim to be, and I intend to launch an investigation
into this phenomenon soon.
Roberta: HA! And here I thought all my attempts to appear perfect had fooled you! Lastly, what future projects
should we be looking to see coming up?
Iron Dave: Funny you should ask! There are a bunch! Here is a list.
Books:
Darc Karnivale / a collection of short horror fiction / due for release December 18th, 2009
Deadly Dolls / a collection of short horror fiction writen by an all-female lineup / available now
Hot & Horrifying: The 1st ladies Of horror / due out in Spring of 2010 { interviews with women in
horror films}
The Indie Filmmakers Handbook / due out in Summer 2010 { interviews with filmmakers}
Horror Prodigies & Legends / due out in January 2010/{ a collection of interviews with established and
up-and-coming writers of horror fiction }
Films:
Horror Prodgies & Legends / a documentary film featuring horror writers
The Good Bad Guys / a film documentary featuring ''bad guys'' in crime and action films
Hot & Horrifying / a film documentary featuring women in horror films
Whew! That's about it for now.
Roberta: Well, no one could call you a slacker. Wow! You‘re a one man corporation. I‘m impressed. May all your
projects bring you all you‘re looking for, my friend. Thanks for this—it was fun!
Iron Dave: Thanks for having me, and you take care and be well!
HUGS!
***
Roberta Lannes sold her first story, "Lorraine", to Stone River Review in 1966. Her high school creative writing
teacher, Marjorie Bruce, encouraged her students to write towards publishing as well as to find their personal voice. It
was on her sending the story out along with others from the class that brought about the sale of the story. Roberta
believes that without Mrs. Bruce's encouragement and belief in her ability, she might never have gone on to publish!
The power of a good teacher is equal to that of a good parent, which inspired Roberta not only to write, but to go on to
teach.
During many of her early UCLA Extension writing courses, from 1983 through 1990, she received much experience
and gained insight into her strengths as a writer. An assignment in her class on Horror Writing with Dennis
Etchison, a master short story writer in the genre, caught the eye of the teacher who bought the story "Goodbye, Dark
Love" for his award winning anthology Cutting Edge. With his encouragement and backing, she was able to meet and
establish relationships with authors, publishers and editors in the field, two of whom remain her friends and most
supportive editors, American Ellen Datlow, and Brit, Stephen Jones.
With Cutting Edge published in eleven languages, Roberta's work began to build a fan base in Italy, France, Japan,
The Netherlands (where filmmaker Ian Kerkhof created Ten Monologues from the Lives of the Serial Killers using her
work), and especially the United Kingdom. Her strong sci fi, dark fantasy and horror fiction is disturbing while it is
considered powerful and effective work.
She was approached by Silver Salamander Press in 1995 to publish a collection of her short stories. John Pelan, a fan
and publisher/writer, edited the collection which can be found in specialty bookstores, via Amazon.com, etc., though
out of print.
Her stories approach the darkest of thoughts, passions and behaviors with pathos and convincing detail from a
remarkable imagination. People who meet her after reading her work are surprised to find a personable, 'normal',
'Vanilla' person, nothing like expected. She asks her readers to relinquish their safe worlds and immerse themselves in
the worlds of disturbed thinkers and brutal monsters. Extensive research into some of the darkest predilections and
deviant minds has given Lannes fodder for the most chilling of tales.
When asked how such a 'nice person' could write such dark and disturbing fiction, Lannes has said, "I'm fascinated
by things that are not in my reality and I believe others are fascinated, too. I don't want to live in the dark realms, in
futuristic sci fi worlds, but I enjoy visiting from the safety of my armchair, and I hope many readers do, as well. I write
from my research, meetings with some of the most discomforting, creepy people, and those who treat them. In
understanding these people, their needs and perceptions, and how they got there, I can be their voices in the same way
an actor might portray them. It doesn't change that I'm a good person. In fact, it fuels my desire to people my life with
sane, sweet, and loving friends. At the end of the day, I want to come home to my wonderful husband and have good
times with my friends. I guess that makes me an enigma."
Michelle Tomlinson
Kimberly Amato
Iron Dave Interview

With
Michelle Tomlinson & Kimberly Amato
Good morning, ladies. Been keeping busy?

MT: Yes! But not in an overwhelming way. Happily busy working on things that inspire me.
A new teaser to shoot for Richmond Riedel‘s (Dir. Of TARGET PRACTICE) new Feature Film,
the Sequel to THE CELLAR DOOR is in Development, BRAIN DEAD comes out soon, MIS-
ADVENTURES OF MCT & A is getting awesome press, TOUCH is in Development, and we‘ve
got an Event that we‘re Producing to benefit a Women‘s Shelter in LA.
KA: She forgot to mention she is working on developing her new production company
Mighty McT Productions as well. Just like the McT, I've been blessed to be very busy working on a
few projects with Michelle. I've also been brought on board to work with Bridge & Tunnel Media on a
Spanish Novella Trilogy. We'll be shooting the first episode of the first novella in the next few
months. Eventually, I hope to have a few moments to edit my first novel. Emphasis on eventually.
All sounds good! Ok, let's do this the easy way; I will direct my questions at both of you, unless I specify otherwise.
OK?
MT & KA: Ok!
Good! Now, here's the first one. Tell me about your new project, The Misadventures of McT & A. Is it like a
horror-themed version of Barbie? {laughs}.
MT: Haha, nice one! It was inspired by a late night Skype conversation between us. We
have our Facebook fan page that we asked for requests as to what people wanted to see us shoot.
The result is the first episode. We want to keep a little bit of a horror theme in each episode, but it‘s
mostly a spoofy comedy of two creative girls armed with a camera and suggestions.
KA: You know, I never really did like Barbie's growing up. McT and I have Skype
conversations a lot about various things – Skype‘s an amazing invention. Speaking of which, maybe
they'd consider sponsoring the second episode? In all seriousness, it was that simple conversation
that led into everything. We wanted to give back to our fans and create a really fun project.
How did you two come up with the idea for your new partnership? Where did you first meet up?
MT: We met through a mutual friend and Film Critic, Theron Neel.
(http://www.theronneel.com) He had reviewed THE CELLAR DOOR and UNDER THE
RAVEN‘S WING and did interviews with both of us. As it turned out, we both formed friendships
with him and he told us about each other and that we should start talking since we‘re two peas in a
pod. What started with a few emails led to working with someone I trust 100%. Amato created my
website for me (http://www.michelletomlinson.net) and we got to talking about goals each of us
wanted to accomplish and we went from concept to print on a couple things. It was a completely
organic process.
KA: Yea, it was pretty much a given once Theron told us to email, that we'd hit it off. He's
good like that. I just remember emailing Michelle one day going, "Hi, I'm Kimberly. Theron said I
should email you so here's your email." Something to that effect. I don't think it took very long for
my name to be changed to simply Amato and the first version of her website to be designed. From
then on, we've managed to have a very balanced friendship/business relationship. Couldn't you tell
by the fact that the two of us had different hair colors when we first emailed and once we met the
colors were almost identical - purely BY ACCIDENT? Not to mention we both had similar shirts
just sitting in our closets that we had bought years ago? It was karma mixed with Theron's Texan
charm.
Did you film McT & A on location at your homes, or scout a location?
MT: Since Amato came out West Mid-October, we knew it would be cake to shoot out
here. I handled the location aspect. The Intro, Doll Segment and the Erdega Segment were shot at
Amy Lyndon‘s house. (http://www.coldreadingclasses.com) Amy also Directed those segments. I
knew we‘d have a helluva time trying to get into an actual cemetery at night, so I figured the top of
Mulholland Drive would work as somewhere dark and creepy. My friend Patrick Julian was a blast
and good sport to come be our villain.
KA: I mostly remember talking, packing equipment in a small suitcase, getting punched by a
cat, getting the flu, waiting at the airport for over five hours for my flight and coming home with a
wonderful project I am so very proud of.
Sounds like fun! You two seem to get along well. Does it make it easier to work together when you are already friends
to begin with?
MT: While I recognize it can be hard for two strong female personalities to join forces, it
just works with us. We are good enough friends to understand how the other thinks. So we have a
cool shorthand in discussing business and shoots that eavesdroppers would probably never
understand! It‘s really funny, actually. We‘ve actually gone back to get a shot without saying a word
to each other because we both knew what the other was doing. Our friendship is very helpful to our
business.
KA: I wish I could put my finger on just one thing that seems to make it easy. There are
many different layers to the two of us that a lot of people might expect us to butt heads a lot.
Personally, I think it comes down to respect. I don't just mean as business associates but as friends
as well. There is an underlying respect for everything Michelle takes on and vice versa. I love hearing
about how much she is auditioning and am very proud of all her accomplishments. I've known many
women to be disheartened or jealous of another actress getting auditions more than them. We don't
feel that way about each other. Someone has to get the role if you don't - why not a good friend?
Ok, here's one for Michelle only. {Don't be hurt, Kimberly, I still love you too!} Michelle, what prompted the idea
for Mighty McT Productions?
MT: Aha! But that, my dear, directly affects Amato! About a year ago, she gave me the
nickname of Mighty McT. I think it‘s an hysterical nickname, and it has stuck with several people
who call me that now. It far beats wishy washy nicknames, ya know? So when I decided I wanted
to tiptoe into the world of Production, it seemed the perfect name for my first Company. I
discussed the concept of the logo with Amato. Mighty McT is a pretty strong nickname and I
wanted the logo to reflect strength, but not too much. Stargazer Lillies are my favorite flower and I
have an affinity for black brick walls filled with charcoal mortar. Thus came the logo. It reminds
me of gentle strength. Something all women have
Ok, same question, but directed at Kimberly. What gave you the idea for Little Crown Productions?
KA: It actually has been a desire of mine for many years to get the company up and running.
The name is actually the English translation of my Grandparents last name. I watched them build a
business from nothing into something and I've always wanted to do the same. It was a way for me to
not only be able to expand my knowledge by creating my own projects, but also making a personal
homage to them.
Here's one just for Michelle again. You are still receiving rave reviews for your performance as Rudy in the film The
Cellar Door, and rightly so. You seemed to be able to transform yourself into ''Rudy mode'' so easily. Was she based
on someone you knew in real-life?
MT: I am really blessed to have gotten so much attention for that film. It‘s been a great
ride. I‘m fortunate that I‘ve been friends with the Writer, Christopher Nelson, for years. He wrote
the script with me in mind to play Rudy, knowing my strengths (and weaknesses) as an Actor.
When I first read the script, Rudy instantly felt like a part of me and very personal. She was not
based on a single person I know, nor was she based on me. I worked on surrendering to every single
circumstance she was in throughout the whole film and the relationship with Herman. I studied the
hell out of the script and had great talks with Chris and the Director, Matt Zettell to make sure I was
on the right path. She was an awesome ride.
Here's one for Kimberly. Your role in Under The Raven's Wing is still being praised highly, too. Was it difficult
to ''become'' someone who was totally unlike the real you?
KA: Truth be told I'm very humbled by the attention my portrayal of "Raven" has brought
me. I wouldn't say it was hard becoming "Raven" as much as it was letting her go when a scene was
done. She was such a deep character, that I had to put everything I had into it in order to create all
her layers. It was exhausting, emotionally draining and I would do it again in a heartbeat. To hear
that someone appreciates your product and all the hard work you put into it, makes all the blood,
sweat and tears so worth it.
Here's one for fun; if you two could cast your own film, say an action/thriller film, who would you cast as the male
and female leads? I'd volunteer to be the bad guy!
MT: Well, pretending that we aren‘t putting ourselves in said film… Cuz we would, of
course! I‘d go with my home-girl Brooke Lewis as a Lead kick ass chick. If you‘re too busy for the
shoot, Dave, then I‘d cast my friend Jayson Champion in a heartbeat to play the villain!
KA: Casting is actually a lot of fun. After very long and extensive process of seeing
headshots and resumes, I would cast Michelle Tomlinson. I hear she's a pretty good actress. Beyond
that she's got some friend named Brooke something or other and oh yea Amato. See, casting is fun -
BUT I would love to cast Ken Foree in something awesome.
Do you two hope to work together more in the future?

MT: Not only hope to, but plan to! We have several ideas and projects down the pipeline
that we‘re having fun developing—not to mention more Mis-Adventures!
KA: Considering we have many projects between us, and she's the chocolate to my vanilla -
I'd say it's a promise and a guarantee.

MT: We only get one shot at life and I‘m beyond grateful for the people in mine and the
direction everything is heading. Thank you so much, Dave!
KA: Thanks to everyone supporting the two of us in whatever endeavor we attempt to do.
Whether we succeed or not, it doesn't matter as long as the journey is enjoyable. With all the fans,
support, loving words and positive response - this ride is starting out mighty amazing.
Iron Dave Interview

With
Rich ''Pitch'' Black
Greetings and salutations, Pitch. Horror Garage been keeping you busy?
Haha…LIFE has been breathless, and HORROR GARAGE is definitely part of that mix.
Thanksgiving is always the start of two months of wall-slamming crazy for me… I think I‘m just
about getting my post-holiday bearings again.
Your on line magazine is great, a cut above the rest. What prompted the idea for the magazine?
Thank you very much! Since 1991, I‘d published UNDER THE VOLCANO, a pretty big
underground music zine, so I had a basic knowledge of how to get a magazine out. I was always into
everything horror… movies, short stories, bands like The Cramps… In 1999 I was subscribed to
Paula Guran‘s excellent Dark Echo newsletter (www.darkecho.com) and started forming the idea to
put together a low-budget horror fiction mag that would reflect my own kinda trashy tastes. I
eventually contacted Paula and asked if she‘d be interested in working with me on a magazine. She
was interested, but insisted that the magazine be upgraded… glossy color cover, paying professional
rates, etc. I basically wanted to create a version of a horror mag that was similar to what bands like
The Cramps or Misfits were to punk. Rather than the standard dreary black and red horror motif,
HORROR GARAGE covers would a bit retro-looking, with bright, in-your-face colors. Lame
vampire poetry was verboten; we wanted stories with real fangs! We‘d include music coverage, have
pinup style covers – our first cover, or ―Garage Grrl,‖ incidentally, was 1993 Penthouse Pet of the
Year Julie Strain. I‘ve known Eric, from the band Zombie! (www.zombierocks.com) for years…Eric
liked the magazine idea, knew Julie, and put the two of us in touch.
And such an impressive past guest list; Dennis Etchison, David J. Schow. Have you considered going into print form
again?
I have to give credit where credit is due. Paula edited the first six print issues, and was
responsible for getting amazing writers like Etchison, Schow, and Norman Partridge interested in
HORROR GARAGE. My end of things during that period was more dealing with the music
content, doing layout, hemorrhaging enough cash to publish, etc. Paula was a detail-oriented,
professional editor, while I was -- and still am! -- a slightly crazed ―trees for the forest‖ punk rocker
at heart, so our approaches were very different. Ultimately we parted ways, and I assumed the
mantle of Editor for the next six print issues. During Paula‘s tenure, HORROR GARAGE
published some of the best horror stories I‘ve ever read. And, I‘m proud to say, I‘ve been fortunate
to publish some of the best horror stories I‘ve ever read since then.
I feel that magazines, as we once knew them, are history, but there might be new, better methods of
delivering similar content just past the horizon. I won‘t return to print again for the mag. I DO
intend to pursue publishing small run books, but life always seems to get in the way just as I get
ready to hunker down to doing it.
With our crumbling economy, the on line magazine format has quickly become an easy - and affordable - way to read
your favorite mags. Still, a print mag is something you can hold in your hand, keep forever. Which format would you
prefer if given a choice?
Yes, I miss holding something in my hands, but I always thought of magazines as pretty
disposable anyway, which is why I‘ve considered going into book publishing. Think of it…music
features will become outdated, reviews become outdated… fiction, generally, does NOT.
Cyberspace definitely has some advantages. Content can be updated almost instantaneously. Niche
markets are easier to reach. Running the site costs only a tiny fraction of what a print version of the
mag did. Who knows what new disruptive technology might leap frog over what we‘re currently able
to imagine? There might be something far better than print in the future.
Has the overall quality of writing you receive improved since you have gone on line? I've talked to several editors that
said the quality had become poor.
This is a GREAT question. You certainly get more submissions, because submission is just a
point and click away, but I‘ve found that the percentage of GOOD submissions is lower.
It could be said that someone who purchases a print magazine… or even makes the effort to at least
see a copy of a magazine to scope it out before submitting to it… is more ―serious‖ in their intent.
Ideally, there‘s an effort required of them just to get to the gates. The internet makes submitting as
easy as email. Someone might come home drunk at 2am, suddenly think they‘re a horror writer, and
email a submission that no one else should ever have to read. For instance, there‘s a guy from
Europe who keeps submitting several stories a month, but he‘s obviously never looked at the
guidelines. There‘s definitely some of that! Let‘s not forget, though, that few niche sites seem to be
able to make enough moola to pay the ―bigger‖ names they‘d like to attract, which is a whole other
issue. I ask for shorter stories so I can pay smaller fees, but at the end of the day I‘m still losing
money doing this.
There are definitely some great writers out there. These days, I feel a major role of HORROR
GARAGE is to seek out and expose some very original stories and authors that might otherwise
have been missed. It‘s something I love to do!
What is it, do you think, is the big attraction to the horror genre? I mean, why do you think folks dish out hard-
earned coin to be scared witless, or made sick at their stomach?
Adrenaline. Stress relief. Facing our own mortality. A good story that springs from
extenuating circumstances. The hope, that compared to what just scared us shitless, our lives really
aren‘t all that bad. Are we not most alive just seconds after the danger has passed?
Interesting points…Tell me about your Winged Disk Records. What style of music do you produce, promote?
Ah. I‘ve been doing Winged Disk (www.wingeddiskrecords.com) sporadically since 1991, but
am now that we‘re in the midst of a digital revolution, certain aspects of releasing music are easier.
Many artists have home studios, so recording costs can be lower. Distribution – which has always
been a challenge, be it records or magazines – has been solved in many regards. The digital end of
distribution is also something that makes publishing an online magazine an attractive possibility. I
also feel that we‘re just beginning to see new ways to promote music and help get it in front of the
people that want it. We‘re in a very experimental phase, where you can make a music video on a
budget of $0, have it seen by someone in Norway, and then, if they like the band, the band‘s music
can be downloaded from iTunes, Amazon, or whatever. There are companies that create and sell
print on demand merchandise. It‘s a very exciting time, and I enjoy the adventure of poking around,
trying things that wouldn‘t have been possible even five years ago. Musically, Winged Disk is all over
the map, which is considered commercial suicide. One tagline I‘m playing with right now for the
label is ―Punk. Noise. Kitchen Sink.‖ In the past, I‘ve worked with (not necessarily released records
by, though) bands as diverse as Controlled Bleeding, which is an incredibly influential
experimental/noise/ambient band; Endangered Feces, which is this GREAT melodic punk rock
band; a collection of older Long Island punk bands like Jimi Lalumia and the Psychotic Frogs,
Nihilistics, Horror Planet, Dead Virgins and Ism…most recently, I‘ve released the latest album by
Sea Monster, a great Long Island punk n‘ roll band… Michael Korb, an otherworldly singer-
songwriter…and hopefully in March we‘ll be releasing the debut Necroparthenophagy album – it‘s
black metal with lyrics in the angelic Enochian language. Brilliant stuff!
Rather than the bands have one ―sound,‖ the idea is that they‘re my friends, and all from the Long
Island area. I‘m always amazed that my friends also happen to play in some of my favorite bands.
Come to think of it, most of the bands have some dark elements to them, be it ear-shattering noise,
melancholia, or the occasional slip into horror rock mode. Maybe ―Smell the Darkness‖ should be
considered for a possible label tagline, I dunno…
Are you going in a totally different direction than you were with Under The Volcano?
Hmmm…maybe more obviously expansive, but not really. UNDER THE VOLCANO
definitely covered all types of offbeat music, and always had a loose definition of ―punk‖… to me
it‘s about where someone‘s heart and mind are, as opposed to what style of music they play. I‘d
consider Johnny Cash, Eminem and N.W.A. all ―punk‖ bands…provocative, independent-thinking,
true to their own vision.
I haven‘t published a print version of UNDER THE VOLCANO for almost three years, and it‘s
only been recently that my brain has drained enough to get some perspective on the life I lived for
the previous 16 years. I feel like I‘ve missed some important parts of life working 100 hour weeks
for what seems like forever, but of course I‘ve had some experiences few other people have. At this
point, I‘m missing a lot of my friends, maybe even starting to miss the constant frenzy of that
project. Although it‘s on hiatus right now, I‘d still like to bring it back in a different, online form. I
don‘t know what that is yet.
As an obvious multi-tasker, what do you do to chill out, relax?

Ha! I have to say, Dave, you‘ve probably got me beat at multi-tasking. I definitely like cold
beer, fine wine and single match scotch. Good food, bad women. I‘ll pick up on a subject and
research it enough to dazzle people with insignificant facts that I‘ll mangle when I regurgitate them.
Have I mentioned Happy Hour? I‘ll scour YouTube for videos in hopes one will really show me
how I can learn to levitate. I hit the gym. I watch movies, listen to music, tell ghost stories.
Wait…have I mentioned Happy Hour?
Yes, you did…What's on the horizon for you right now?

In general, the fog is clearing a bit. For HORROR GARAGE, I have some stories I need to
contact the writers about buying…I‘ve been putting it off for months, for one reason or another.
There are also some interviews I still need to get to. As for the label, I‘ll be promoting the Michael
Korb album, which is titled SLEEPWALKER, then releasing Necroparthenophagy in March.
Any last words of wisdom before you go?

―The Irish believe that fairies are extremely fond of good wine. The proof of the assertion is
that in the olden days royalty would leave a keg of wine out for them at night. Sure enough, it was
always gone in the morning.‖ - Irish Folklore
Thank you very much, Dave!
You are very welcome!
Zachary Sewlyn
Iron Dave Interview

With
Zachary Sewlyn
Hello, Zach - How goes it in the land of The Lobos Riders?

Hello! Were trying to record the official follow-up to :Alcoholiday" but times are hard on the
boulevard! - The band all became dads recently, - so the focus got shifted a little - I hope we can
finish this new record and be on the road by summer...
As a singer/songwriter, would you say it easy to be typecast once you've made the move from music to film? I've known
several musicians who told me once they'd made the transition, each time their agent called them, it was about another
role in a horror film.
I will take ANY role as long as my music is featured! Seriously - I have a campaign coming
out this year for "Stand Up 2 Cancer" with Jim Parsons from "Big Bang Theory" - There's a totally
different vibe than a horror film - so I have avoided the typecast because not a lot of people have
seen my stuff! I would love to be typecast as a western guy though - I just want open prairies and
sunshine...
What was it like working with Jeremy Sisto and David Carradine on Dead and Breakfast?
Well, Jeremy and I had known each other for years - And he‘s extremely talented - Davis
was as professional as it gets - and an idol of mine - I've never seen a guy so complacent with
himself - He taught me to take milk thistle, dandelion root and fish oil if I was a heavy drinker. Then
he told me to only roll my own smokes. His best quote that his niece Ever tells me all the time is
"Never buy anything from a man who is out of breath."
Your other appearances {TV} include Sabrina The Teenage Witch and Stargate Atlantis. How did those roles
come about for you?
Ha - If you ever come to LA and try to be an actor, you will (if you‘re lucky) audition for
everything you can - I got Sabrina that way through an agent. "Stargate" was because I wrote a song
about how much I loved the show - They flew me up to Vancouver and gave me two scenes - which
to this day I have never seen. - I remember I had to look pale and sickly though. Luckily I was hung
over.
I see you have recently started your own production company. What film genre do you plan to begin with? Or...is that
a dumb question?
Ha! Its with my Brother - We do funny music videos for Atom.com and Comedy Central - Look
up "White People Problems" and "Chick Drinks" on atom.com - you'll see what we‘re doing! BUT
eventually, we‘d like to do film and TV.
Concerning your music, how would you describe your own musicial style?
I‘m a swirling mess of ideas all the time - county, hip hop lyrics, comedy... I don‘t know - I
just either come up with funny titles and write - or someone asks me to write about something –
That‘s what "Dead and Breakfast" was - I am trying to make a new zombie-musical-comedy right now
- Fingers crossed!
How did Lobos Riders come into being?

Dan (guitar maestro) and I sat down to go over some songs I had written - he liked them,
said I wasn't that bad. I recruited Jeff on bass and Dan brought in Scott - Jim arrived after the "Ghost
Signs" record - But it was organic and we‘re all best friends - It's coming up on 8 years this summer
since we formed!
I see you have recorded music with Fergie of The Black Eyed Peas. What's she like to work with?
Amazing - I can‘t believe I got the chance to work with her before she was in the Black Eyed
Peas - I just wish we had kept in better touch - She's always been a supporter and a dear friend.
Ever thought of going solo? Be a solo ''Rider''?

I do! Check out the "Cartoons I‘d Like to F" EP or the JACK DENIM "WHEN THE LEVIS
BREAK" EP on itunes! – I‘ll still always wish I had the band though…
What's on the agenda for you right now?

Staying healthy and taking care of my family - I write this as I‘m having a beer at 10 o'clock
in the morning.

Yes... John Mayer had way too many shirtless photos in the latest Rolling Stone. Come on
dude! Put a jacket on!
Ellen Datlow
Ellen Datlow is currently tied (with frequent co-editor Terri Windling) as the winner of the most
World Fantasy Awards in the organization's history (nine). She has also won, with co-editor
Windling, a Bram Stoker Award for The Year's Best Fantasy and Horror #13, and with co-editors Kelly
Link and Gavin J. Grant, a Bram Stoker Award for The Year's Best Fantasy and Horror #17. She has
also won the International Horror Guild Award for her anthologies The Dark and Inferno; the Shirley
Jackson Award for Inferno; the Locus Award for Best Editor in 2005, 2006, 2007, and 2008 and the
Hugo Award for Best Editor in 2002, 2005, and Best Editor Short Fiction in 2008. In addition,
SCIFICTION won the Hugo Award for best Web site in 2005 as well as the Wooden Rocket award
as best online magazine for 2005. Ellen was named recipient of the 2007 Karl Edward Wagner
Award, given at the British Fantasy Convention for "outstanding contribution to the genre."
***
Iron Dave Interview
With
Ellen Datlow
Greetings, Ellen. Been keeping busy?

Hi, David. Yup. Always. Whether working full time for a magazine/webzine or freelancing,
an editor‘s work is never done.
First of all, let me say what an honor it is to have you with us here at Vast Horizons, and to thank
you for being gracious enough to do this interview, considering your already busy schedule.
Secondly, what was it that first prompted your interest in starting the Year‘s Best Fantasy and Horror
series?
Thank you for asking.
Although I had edited Blood is Not Enough in 1989 (my first horror anthology), I was working full
time at OMNI Magazine and really more involved in editing science fiction.
Jim Frenkel, long time editor at Tor Books, is the one with the unique idea of combining a fantasy
and horror best of the year. I‘ve known Jim since the late 70s. YBFH was his baby--he approached
Terri Windling and me about doing such a series and we jumped at it. And he packaged the series
for the twenty-one years that it was published.
Your Year‘s Best anthologies are considered to be unsurpassed, works of great literary sophistication. Is there any
particular ''philosophy'' or ''method'' you use when picking out the stories you want to showcase in the anthos?
Only to pick the stories that hit me hardest and that stay with me and keep disturbing me or
fill me with a sense of dread/foreboding over multiple readings. I do try to ensure that there‘s a
variety of tone, theme, subject matter, etc as I would for any other anthology.
As I'm sure you've already noticed, the horror genre, over the last ten or twelve years, has not only become a much-
maligned genre, but also more difficult to sell. Has the horror genre become more predictable, cliched?
This isn‘t new. Horror literature has rarely been ―respectable‖ and its marketability ―as
horror‖ varies year by year. But in the current situation-- since torture porn movies became popular-
- it‘s been harder to get the public and critics to see that literature marketed as ―horror‖ is not the
same as what appears in those movies: an excuse to slice and dice attractive young people.
So those who perceive horror in that way assume that any quality work of horror literature that they
come across is not really horror, but has ―transcended genre.‖
While reading for the Best Horror of the Year, I certainly read plenty of predictable, clichéd work--but
judging from the original anthologies, magazines that publish horror, and single-author collections I
receive annually, there‘s no dearth of markets or of horror stories being published. And I never have
trouble filling my 125,000 words. (the amount of wordage I had both in YBFH and have in The
Best Horror of the Year). In fact, I‘m sorry I don‘t have more space so that I could buy novellas.
What is your personal opinion - or definition, if you will - of the splatterpunk movement that began in the 80s? It's
influence is still obvious in both literature and film today.
I guess it could be considered a mode of horror fiction that was more visceral in its
approach. At the time, it brought an interesting energy to the horror field (mostly because the
writers were young and pushy and willing to offend-- and good writers who knew how to plot) but as
with most ―movements‖ in art and literature it‘s been co-opted by hangers on who took the worst
parts of the movement and ignore the important part--that Schow, Brite, Lannes, Skipp & Spector,
et al could actually tell a coherent story that had something to say.
What about the on-line magazine format? Do you for-see success or failure, as a lot of the print
magazines fold up? Any pros or cons with the on-line format?
I‘ve worked in both formats and the problem with professional online publications that
persists is how to support the enterprise--how to make enough money to pay the editors/production
staff/artists and contributors. With all three electronic venues for which I edited fiction, that was
always the problem. OMNI online moved from being a respected and multimillion per issue selling
print magazine to an online publication without those in charge of the corporation making any
effort to use the print magazine‘s popularity to push for online advertising. Event Horizon, the
venture I started with three of my former OMNI colleagues was created to leverage our skills and
knowledge at magazine production for other types of online work--unfortunately, that experiment
only lasted 1 ½ years even though we produced several online conventions for Harper Eos. And
SCIFICTION was created as part of a huge site (SCIFI.COM), the adjunct to the SCIFI Channel--
that was intended at the time to be the ―go to‖ site for science fiction and fantasy in all its
permutations. Unfortunately, the company was sold at least three times in the almost six years I
worked there. And each owner expected different things from the website, ending up with what it is
now--a shill for the SCI FI channel and not much else.
Enthusiastic readers/fans and (hopefully) people or corporation with deep pockets will continue to
start up new print magazines with a limited readership and relative low expectations (it takes several
years for any magazine to go from the red to the black) and the same will happen with webzines.
The question remains: how to make money from them.
The format itself is (to me) irrelevant, especially now with e-readers.
As an editor, I'd have a terrible time trying to edit an established writer's work. Does editing an established writers
work ever make you just a tad bit nervous?
It‘s a balancing act when editing someone for the first time, no matter how established or
new a writer is. But I‘m confident of my editing so have no problem asking the questions of the
writer that need to be asked when I‘m editing a story.
At the risk of sounding redundant - which I'm sure some of these questions have already - how did you and Terri
Windling meet up?
Terri lived in NYC for a while and I became friendly with her through the sf/f community.
We didn‘t‘ know each other very well until we began to work together. She moved to the Boston
area then Arizona and the UK so all our anthologies have been done by mail (initially) and now
email.
Any last words before you leave us? Any advice for aspiring writers?
Send out the most perfect version of your story that you can. Don‘t send out what you think
is a draft. Also, DO send stories out. You can‘t sell anything that‘s just sitting in your drawer.
Spookhaus
Musician, Producer,Vampire,Composer,"Artist of Darkness." I'm not influenced by any particular bands or genre of
music. I AM inspired by Horror movies,Halloween,Paranormal,Graveyards,rainy days,The Devil,,Gothness and the
like. My music spans many genres but always remains Dark. From stirring soundtrack pieces, atmospheric mood
music, to full on abrasive metal,industrial. From triphop grooves to rockin in yer face stuff deadicated to Horror
Movies. It's all here and I leave no gravestone unturned. The SpookhauS Laboratory, situated at the edge of Gastown
in Vancouver BC,is where the many experimentations and creations are born. These Soundscapes, noisescapes and
tunes are fully written ,played, recorded and produced by myself and are DEMOS!! I have written theme songs for
paranormal groups,composed for film and my music has appeared in various films of The Horror genre. I am currently
looking for a recording deal and to do future scores for all types of budgets of Movies.... but, Horror,Sci Fi, Suspense
ONLY!!! So send me yer Horror movies and yer record contracts...DON'T BE AFRAID!!
***
Iron Dave Interview

With
Spookhaus
Greetings, Spooky. How goes it in the Spookhaus laboratory?

The Spookhaus laboratory is a Dark, fascinating, creative and very busy place.
I'm constantly churning out Terrifying, Original Creations here.
Weather I'm collaborating with fellow Dark Artists or creating for film, various organizations and
websites or purely for the love of composing, it really is an ideal spot to conjure.
The Laboratory is located in a 125 year old building in an artist/live work studio in East Vancouver.
The ambience in The Laboratory is just right as it contains many of my horrifying artifacts, my
extensive collection of Horror movies and magazines and new and vintage instruments and
recording gear.
The interior walls of The Laboratory are old decaying brick and wooden pillars and the high ceilings
are formed of wooden planks and large wooden beams.
Ideal acoustics in the room really, and the building, specifically, The Laboratory is said to be
haunted......
I can only say that the composing, performances and recordings of some of my music, soundtracks
and sound-scapes have had some help from some external forces on the other side...
Let me jump right in here, and ask you exactly what type of software/hardware you use to create such a distinct,
unique sound?
I experiment with various mediums within the digital recording realm.
I use vintage Adats and record direct to hard drive using Nuendo and proTools.
I like the idea of using Adats because I get a warmer and darker sound from them.
They're older digital recording units but they record on VHS tape, as opposed to a cold steel disc,
hence a warmer, darker, richer digital sound.
Certain things like vocals, bass, guitar and some synths sound great recorded on these.
The sessions are then dumped to my hard drive, where I continue layering other tracks with Nuendo
and proTools.
I have a bunch of old analogue effects units. Lexicon reverbs and old analogue delays that I use and
I mix them with the onboard digital effects
You can see a list of all my gear and instruments at my Myspace:
www.myspace.com/spookhauso.
My Instruments include two electric guitars an electric Bass, an electric mandolin, a folk and classical
acoustic guitars, various synths, samplers and drum machines, and percussion instruments and The
Theremin.
But my sound is not the hardware, software or the instruments. The sound is coming from me. From
deep within my darkened soul.
These or merely tools to convey the music in my head to the outside world...
Okey dokey, then…The horror genre has obviously had a profound effect on your career. What first prompted your
interest in the horror genre?
My interest in Horror started at a very early age.
My first recollection of discovering Horror began at about five.
I was living in San Antonio Texas and I distinctly remember a Creature Feature-type series that
showed old Horror movies.
The first one that I remember seeing was The Ghost of Frankenstein (1941)
I thought it was the coolest thing in the world seeing the Frankenstein Monster kickin ass!
He was my super hero! Or super antiHero!
So from then on I became obsessed with Horror and needed to discover all there was to know
about the subject.
I spent much time at the library reading everything from Mary Shelly, to Bram Stoker, to HG Wells
and HP Lovecraft, Edgar Allan Poe and newer authors like Steven King and Ann Rice and watched
the classic silents that were shown there; Nosferatu, Hunchback of Notre Dame, Phantom of the Opera.
I started at a very early age, discovering the early works of Horror, the myths and legends and the
roots of Horror movies themselves.
And as I grew older, I began collecting Horror magazines of all types. My favorite being Famous
Monsters of Filmland, with its colorful Basil Gogos Covers and the pages of mail order Horror
collectables at the back of that 'zine, it truly was an inspirational source and broadened my horizons
in the Horror genre itself.
I'm much older now, and have seen a few decades of Horror come and go and my tastes have
refined but I always retain that five year old wide eyed curiosity for the genre.
horror, darkness and the supernatural keeps me young, alive, creative and always living on the
outside and on the cutting edge, it's kinda like Halloween every day.
.That is why I'm drawn to it....like a vampire drawn to blood....
You are definitely dedicated, that‘s for sure…If you had the chance to work with one of your favorite directors, who
would you like to score a film for?
Most of my favorite directors are dead....Alfred Hitchcock, Lucio Fulci, James Whale... and
Roman Polanski's in jail.
I'd have to say ,though, working with some current directors like John Carpenter, Quentin
Tarantino or Tim Burton would be a dream come true but Carpenter writes his own scores,
Tarantino uses classic tunes by various artists and Burton's got Elfman so I'm shit outta luck!!!!
Are there certain scenes in each film that are difficult to score?
I have always found that if the scene is difficult to score, don't score it, leave it open and let
the scene breath. The best score is no score at certain points in any film. There's nothing worse than
over-killing a soundtrack!
Have there been films - or film documentaries - that you felt stood on their own merit without a score?
Watching the early classics like Universal‘s Frankenstein (1931) and Dracula (1931) have a sense
of realism and timelessness without the score. They didn't know how to record a score onto film
then, so many early 30s"talky movies" didn't have them at all.
Which was probably a good thing because only a few years later when scores began to appear in
film, they were poorly recorded and the music, to today's standards, simply sounds melodramatic,
over the top and badly dated!
However, I must say that one of my favorite soundtracks is from that era; Max Steiner's dark score
for RKO'S 1933 King Kong.
But there's a certain sense of dread, and creepiness, a vibe that I get, when I watch a scoreless
Frankenstein; Dracula as well, has that same creepy vibe without a soundtrack.
There's a digitally re-mastered version of Dracula on DVD that came out a few years back with a
Phillip Glass composed score performed by The Kronos Quartet.
It took me a few watches to enjoy the soundtrack working with the visual because I was so used to
watching it without a score but after the second viewing I've loved it ever since.
The Blair Witch Project also comes to mind, but it was meant to be a documentary of sorts so a
soundtrack would've been out of place.
The movie was brilliant because it was made on a micro budget with no special effects or camera
work and , especially, it didn't use or need that tension building score and still managed to create a
sense of fear in the audience, basically forfeiting The Hollywood ideal of "The Horror Movie".. and
I liked that, even if it killed the composer's job!
Do you ever incorporate any of the elements - or vibes, if you will - from your favorite horror films into your music?
Oh yeah! When I set out to do Spookhaus or should I say become Spookhaus, I was really
inspired by tons of Horror movies that I had seen through the years.
Not just the movies and the visuals but the soundtracks and the dialogue and sound effects. I
wanted to incorporate them into my sound. I had not only watched thousands of Horror and sci fi
films but I recorded audio sections that I felt were cool; everything from dialogue snips to
screams and groans and instrumental passages from the soundtracks themselves for future
inspiration when composing. I love to incorporate loops of sections of soundtracks into my stuff
as well…You will hear samples throughout my music. Some mixed in subtly, others subliminally, yet
some are really in yer face.
Here‘s a brief list of some of the classic Horror movies that I have sampled and used in my
creations:
Frankenstein meets The Wolfman (1943)
Dracula's Daughter (1936)
Texas Chainsaw Massacre (1974)
Rosemary's Baby (1968)
Lady Frankenstein (1971)
Dawn of the Dead (1978)
Plan 9 from Outer Space (1959)
The Devil Rides Out (1968)
Dementia 13 (1963)
American Werewolf In London (1981)
Just a small sample off the top of my head but I'm not going to say what songs they appear in.
I'll leave that all up to you. You can start by checking out my 90 mp3s available to stream and
download for free at www.isound.com/spookhaus!
How exactly would you describe your own musical style?
I would describe my style in one word, "Dark" I am dubbed "The Artist of Darkness" because I
encompass the many genres within dark music; from jazz, dub reggae, tribal, ritual, classical, goth,
industrial, psychedelia, metal, blues, rock, ambient, world beat music and various folk styles from the
middle east to Transylvanian gypsy music, I really leave no gravestone unturned when it comes to
the dark path of music that I proceed so curiously
to go down...
I have played many styles in various bands and studio sessions in the many years I've played music
and, as Spookhaus, I am able to take these influences to my lab and spark new life into them, create
a new form and render them into darkness I consider myself like the Dark Frank Zappa. He left a
huge and ecllectic body of recorded work behind. From. 50's greaser crooning, to his use of the
synclavier and his various compositions of, orchestral heavy rock, psychedelia, jazz fusion, funk and
blues. He constantly challenged himself as a musician and as a result, inspired musicians and artists
even to this day.
His recorded works surpass most recording artists and he was a tireless composer and producer.
He was a serious, well rounded player with some wicked chops but he wasn't afraid to show his
sense of humor in himself and his music too.
So yeah, call me The Dark Frank Zappa mmmmmmMMMMUUWWHAHAHA!. or just simply
The Artist of Darkness!
I can do that! Is there anything on your current agenda to tell us about?

I am eagerly anticipating the release of a German Horror movie that my music appears in.
I didn't specifically compose the music for the film, the director's using several of my instrumentals
and placing them within the film. I've licensed something like 12 songs to him but have no idea
where and when they'll be in the film so it should be interesting and surprising.
The movie's called, "Rain of Flesh" and has been a few years in the making but hopefully it will be
out this year. It's a very Horrifying, gory, surrealistic movie.
As well as I am working with fellow Dark Artist, Rob Macabre on a comic book that will be released
this coming Christmas based on my character, "Satan Claws."
I wrote the story and Rob's doing the artwork.
It's a mix of old school comic style, like the old Marvel, DC, and EC style Horror comics but with an
updated cutting edge!
So look out for "SpookhauS Comix Presents Satan Claws "comic book in stores and online as you will
be able to check it out and purchase it at www.satanclaws.com.
Macabre and I are also collaborating on a Death Metal inspired project; he's providing the lyrics and
vocals and I create the horrifyingly heavy and fast creations for him to destroy!! It's a hella lotta fun
and yet another exploration in the Dark world of metal.
I will be resurrecting my official website, www.spookhaus.com this year as well, due to popular
demand. It's been down for a couple of years but will be up soon with a huge list of free mp3s to
choose from!
And prepare yourself for some live Spookhaus in 2010 as well. I'm gettin outta The Laboratory and
hittin the stage so lock up your daughters or you can leave them for slaughter when I come to yer
hometown!! {Just joking around about your daughters}.
Any last words?

As I mentioned before, I've been playing music in many capacities and styles for quite a few
years now and have learned some valuable lessons through the many experiences I've
had within it. The one thing I've learned is ya gotta do music for the love of it because there isn't a
lot of money in it....but there is a lot of cool people to meet and experiences to be had and at the
end of the day, if ya get good, that instrument becomes your best friend and it gets ya through a lot
of superficial everyday bs that brings ya down.
For me, the best way I can express myself artistically is through music. It took me some time to
create my own style but exploring other styles helped me define my own.
Music so happens to be the most powerful art form and good music can inspire, move, calm, agitate,
meditate, destroy and make one dance, thrash, mosh wildly about and that's why I'm so drawn to
this art form.
The years I spent as a teen ager were filled with music, going to concerts and dances.
Before that , as a child, my days were filled with my obsession with horror.
The two loves from my youth have fused together to become my current passion, horror music and
I have found an audience for it through Myspace and the internet.
The connections I've made for film work and the organizations I've met have all been online so the
internet has helped me alot in getting exposure all over the world, doing this independently without
a record company or management firm interference.
That's important to me, to work independently, call the shots, write the music I wanna write,
honestly and without scrutiny and especially to uphold my artistic integrity and to do it...as Frank
Sinatra and Sid Vicious once sang,"My Way"...
Tim Lebbon
Tim Lebbon (born 1969 in London) is a Welsh horror and dark fantasy writer, and a judge at the 2005 World
Fantasy Convention. His short story Reconstructing Amy won the Bram Stoker Award for Short Fiction in
2001 and his novel Dusk won the 2007 August Derleth Award from the British Fantasy Society for best novel of
the year. His novelization of the movie 30 Days of Night became a New York Times bestseller and won a Scribe
Award in 2008. Tim lived in Devon until he was eight and then in Newport until the age of 26. He now lives in
Goytre, Monmouthshire with his wife and two children.
***
Iron Dave Interview
With
Tim Lebbon
Greetings and salutations, Tim. Been keeping busy?

Always busy. I‘ve got a hectic family life – wife, two young kids, dog the size of a Shetland
pony – so there‘s always lots going on as well as the writing. And at the moment, there‘s loads of
writing going on.
Having been born in London, could you honestly say that the overall, cultural background way over yonder in the UK
has been a basis for some of your fiction?
I wouldn‘t say it‘s been a basis for my fiction, but you‘re inevitably influenced by the place
you live, it‘s culture and customs and atmosphere. Most of my contemporary writing is set in the
UK (notable exceptions being, of course, the Hidden Cities books I‘m writing with Chris Golden,
each of which is set in one of the world‘s greatest cities: London, New Orleans, Venice, and the one
we‘re working on now is Boston). It‘s obviously so much easier for me to write a book set in
London than New York, or the mountains of Wales rather than the Rockies. Saying that, my
current novel is set largely in North America, so I‘m doing loads of research, as well as using
experiences I‘ve had of the USA during my many visits there.
Speaking of stories, tell me a bit about your Bram Stoker -winning tale ''Reconstructing Amy.'' The title alone
sounds more than just a tad bit interesting.
I‘ve always found dolls quite disturbing … you can buy baby dolls now that look exactly like
newborn babies, even having hospital tags on their wrists, and other dolls that cry or pee! They just
spook the hell out of me. Maybe it‘s because there are so utterly motionless, just like a dead body.
Or maybe it‘s those eyes… So, I wanted to write a story about dolls, and how perhaps the
personality of a dead person could be absorbed by her collection of dolls. When she dies her
husband throws the dolls away, but then he starts finding them again, one by one … and taking
them home, he starts to feel as if his wife is slowly returning to him.
Let me pause for a moment to say congrats on your story Every Wrong Turn being included in the Hellbound
Hearts antho. How did it feel to be included in such a ground-breaking book?
It‘s nice. It‘s a great book, and I‘m thrilled that Paul and Marie asked me to contribute.
More than anything, it was a good excuse to read The Hellbound Heart again.
I always enjoy a good - and well-crafted - novelization of a good horror film. I see you penned one for 30 Days Of
Night. What is it, in your honest opinion, that is so appealing to the reader when it concerns film novels?
Well, I‘m not sure. Of course the novel had to be based closely upon the screenplay, but I
just wanted to write it as a fast-paced vampire novel, which it was. I guess there are some people
who‘ll buy it having seen the movie, and they‘ll read it and have the movie in mind – its characters
and situations – as they‘re reading. And sometimes a reader will be interested in the extra stuff that
appears in a novelization. Hope so, anyway! I put in a scene where some of the vampires take on
and kill a polar bear for sport, and I‘ve had countless people tell me that was one of their favourite
scenes in the book. It was one of mine, too. That would have looked fabulous in the movie.
Have any of your novels or short fiction been adapted for film?
Not yet. A few are under option, and one or two are looking more likely this year than last.
But still doesn‘t mean they‘re anywhere close. I‘m developing a couple of TV series at the moment
(one with Chris Golden, one with screenwriter Stephen Susco), so I‘m very excited about the
possibilities there.
Describe to me what it's like ''being Tim Lebbon.'' Whats an ''average '' day like for you?
Get up, cup of tea (essential), walk the dog, get kids ready for school and see them out of the
door as my wife leaves for work. Then it‘s breakfast, cup of tea, 10 minutes watching or reading the
news, then down to work. Coffee. Lunchtime I‘ll go for a run or a session on my exercise bike,
read a bit, eat, then back to work until the hooligans arrive home. Tea. Then dinner, family time,
dog walk again maybe, coffee, kids to bed, and then either an evening with my wife or a couple of
hours more work. Wine. Next day - repeat. Some days are different of course, but generally I‘ll
write from about 10am til 5pm, and deal with business stuff before and after. Evenings I‘ll chat with
Chris Golden about our current collaboration (or any one of several other friends I‘m collaborating
with on projects), deal with emails, and sometimes spend time writing proposals or brainstorming
new ideas, or the next day‘s writing. And drinking wine. Or I‘ll do an interview … like now. Sleep
is occasional.
What‘s on the horizon for Tim right now?
Lots. I‘m writing a big apocalyptic zombie novel for Corsair in the UK, and have another
untitled book under contract with them which I‘ll be starting later in the year. My new fantasy novel
ECHO CITY FALLS is out from Bantam this year, and Orbit UK early next year, and I‘ll be writing
another untitled book for Orbit as well. Bantam are also releasing THE CHAMBER OF TEN, my
new novel with Chris Golden, and HarperCollins in the USA will release THE SECRET JOURNEYS
OF JACK LONDON: THE CALLS OF THE WILD (another book with Chris), later this year. I
have a novella called THE THIEF OF BROKEN TOYS and a collection called LAST EXIT FOR
THE LOST out soon, as well as a new original novel 30 DAYS OF NIGHT: FEAR OF THE
DARK and the novelization of THE CABIN IN THE WOODS. And there‘s more. You can
always find updates and other cool stuff on www.timlebbon.net
Ken Yankee
A film/video major from Fitchburg State College, the self-dubbed 'Working Class Film School', Ken moved from
Boston to Los Angeles where he began his career as a editor, writer, producer, and occasional director.
Since that time his work has expanded to all genres of visual entertainment, including feature and documentary films,
video game campaigns, music videos, talk and reality programs, and everything in between.
He has earned an impeccable reputation as an editor with a talent for telling compelling stories with a unique visual
flair, that includes work for New Line Cinema, NBC, ABC, CBS, MTV, Vivendi and Sierra Games, John
Mellencamp and Norah Jones, as well as many other major studios, syndicators, cable outlets, and recording artists .
Ken has also written and produced many of the projects that he has edited and his unique style has been said to bring
together music and storytelling in a way that is both exhilarating and engaging for the audience, an achievement that in
turn earned him multiple Emmy nominations.
When he isn‘t diligently working on film and video projects, he can be found either obsessively washing and waxing his
car, pondering the future of Van Halen, or sinking his teeth into a pint of cold, creamy Guinness.
***
Iron Dave Interview
With
Ken Yankee
It's great to have you here, Ken. Been keeping busy?

Thanks, it great to be here. Busy isn‘t the word for it, between finishing up ―Won Ton
Baby‖, finalizing all the deliverables for a short I cut a while back, ―Child Reduction Act‖, that my
buddy Peter Chen directed, that recently got picked up for distribution for a compilation
horror/thriller DVD, as well as prepping for the documentary we‘re working on together, all while
working on my day job as editor/producer of the syndicated talk show ―The Doctors‖, let‘s just say
sleeping in isn‘t an option now.
Before I forget - God forbid - let me say thanks for helping me out with some of my clips. When did you first become
interested in working in film?
It‘s been a pleasure, I love learning about creative process of filmmaking so while watching
and logging the footage which is usually the tedious process before you can begin editing, these
interviews are the total opposite. Because any information, stories, etc., of why and how these
professionals got here and what has transpired to get people to see their work is priceless.
For me my love of movies began with my grandfather. He was a pioneer in the video rental
business, and had one of the first VHS/Betamax rental stores. So as a kid, this was the greatest
thing ever. I could rent anything I wanted, without ever paying for a rental, so I literally watched
anything I could get my hands on. By the time I got to high school I knew filmmaking was
something I wanted to be a part of and as graduation approached I asked my guidance counselor to
help me get into a film school. And, his reaction was, ―no one makes it in Hollywood, you have a
good job, I wouldn‘t pursue that any further‖. So I ended up working as a television/audio repair
and installation technician for a while until I decided that I was going to get into film & television
one way or the other, so I put myself through college, got a degree in communications with a
concentration in film and video and here I am numerous television shows and films later.
Speaking of film, how's the editing on Won Ton Baby coming along?
We are basically wrapped with Won Ton Baby, and now are just trying to polish it up, add some
insert shots, anything we can do to make the film better. We recently had our world premiere at
Gorezone in London Sept 30th and we have gotten a lot of positive feedback.
I have just started getting into producing, and there is a lot more to it than meets the eye. Is there a lot of multi-tasking
in your work?
My workload changes from job to job. Typically on a indie film I‘m doing everything within
post, assistant editing, editing, colorist, graphics, as well as sound and Foley editing. Won Ton Baby
was the first feature that I actually worked with a compositor for all the wire removal needed and we
also had someone do a lot of the Foley effects because creating audio for a killer fetus just wasn‘t
available within any sound effects libraries that I know of! Maybe once I‘m on a huge budget film I‘ll
think differently, for now though I enjoy all the many aspects of the job and how creative it allows
me to be.
This may sound like a dumb question, but here goes: what exactly is involved in being an ''assistant director''?
It‘s funny you asked that. I was approached to just edit the film, and since it was going to be
shot in New Jersey and I‘m in L.A., I really wasn‘t going to have any interaction with the cast and
crew, so I asked James (the director) if I could come out and help in any way. Being an indie I knew
that there‘s always a need for an extra set of hands whether I was going to grab food for the crew or
hold the boom, whatever, I just wanted to be a part of making the film in any way possible, plus I‘d
get the chance to meet Debbie Rochon and Suzi Lorraine so, how cool is that?! So as soon as I got
to the set, I met everyone, and within about five minutes was handed a camera and asked if I could
shoot, and away we went. It was a great experience, everyone couldn‘t have been more professional,
and for James to put his trust in me to go out and have creative control of certain scenes was
awesome. The schedule was so tight that even with me shooting, a few really cool scenes,
unfortunately, had to be cut because of time restraints, so hopefully in WTB! 2 Those scenes will
make an appearance.
Do you find it more to your liking to work in full length film or TV? Is there really any big difference?
Both are challenging, and I think that‘s why I like being an editor. My work in television
tends to always come down to how I can tell this story with what we have which is usually very
limited and make it look as though everything that you see was planned. With films it‘s much more
visual, the story has been planned out fairly meticulously, the director has a vision that he‘s trying to
keep, so it‘s less a matter of covering up and more about choosing the correct take so that the
visuals and interaction between actors flow.
Ok, same question, but concerning big budget as opposed to low budget films. Is there more ''artistic freedom'' involved
with indies?
As an editor you always have to be on the same page as the director, but technically the
editor is in control the story, from pacing, to even the way a subtle camera movement can change
the mood of the scene, so you always have a lot of freedom to begin with. On larger budget films it‘s
been shot so well that you don‘t have the limitations of an indie where depending on what was or
wasn‘t shot you might need to try out something new that will hide a problem, help pacing,
transition the scene to the next, etc.
I see you are acquainted with Suzi Lorraine. I really like her too. How did you two meet up?
I met Suzi for the first time on the set of WTB! and we have become good friends since
then. She has been heavily involved with the production and marketing of WTB! and it has been a
pleasure to work with her, I definitely look forward to the next film we can do together.
Anything exciting on the horizon for Ken?

Well, I have a finished horror script that I‘m hoping to shoot this summer, it‘s a really fun
script that turns the tables on the redneck vs. teens genre that has become a too common horror
cliché. It‘s going to be gory, fun and hopefully will bring some sympathy to all rednecks, young and
old, near and far. And of course there‘s the documentary we‘re working on together, I normally
don‘t sit and watch unedited interviews but the stories you and your crew have gotten from inside
the horror world are really interesting and it‘s going to be a lot of fun to begin cutting.
Keep your eye out for WTB! coming soon to a festival near you. Thanks again for having
me, it‘s been a pleasure.
David Byron literally BURST upon the horror community only two years ago, and his on line magazine, NVF
MAGAZINE { Now defunct} has boasted interviews with horror fiction legends Ramsey Campbell, Anne Rice,
Philip Nutman, and Jack Ketchum, and has showcased fiction by Joe R. Lansdale, Roberta Lannes, and John
Everson. Not bad for a guy who quit highschool, and didn't earn his GED diploma until he was 39 years old.
Now 50, he has showed no signs of slowing down, having now edited three fiction anthologies, non-fiction memoir
books, and has now signed on to be co-producer on three documentary films, to be released in 2010.
Dubbed by some of his friends as ''then hardest working ''unknown'' man in horror,'' he has accepted this honor with
pride, but is now branching out into different genres and other projects that will not dwell within the horror genre.
'' I have found the horror genre these days to be lacking in originality,'' he recently told someone in an
interview. '' It has started to become stale, cliched. All I see when I look at the book store shelves is
vampires, zombies, and serial killers. And horror films don't fare much better. The seemingly endless
- and shameless - lame remakes and sequels to classic horror films almost borderlines on the
ridiculous. Writers of horror films and fiction have seemed to have lost grasp on what key elements
are necessary for a well-crafted horror film script or story.''
Although he still reads some of his favorite horror authors - Stephen King and Clive Barker, to name a couple - he
now wants to concentrate on other aspects of his life, one of which is re-connecting with his passion for screenwriting and
crime fiction. His short-film screenplay, JOAN CRAWFORD HAS RISEN FROM THE GRAVE , is right
now being opted for film by Very Scary Productions, and his work in progress, Tiny Terrors, a collection of flash
fiction, will be released in March 2010 on Amazon Kindle.
He lives in Southern Indiana with his cats, Toby, Sissy, and Buckwheat, who help him ''edit'' his manuscripts by
jumping on his keyboard when he isn't looking. He may be contacted via his personal email here
nvfmagazine@gmail.com
Thank you for buying this book.

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Dead Letter Office 2010

Dead Letter Office

Will Harris interviews NCIS star Pauley Perrette / 7

Warren Zevon – Remembering the Man and His Legacy / 112

This book is dedicated to Warren Zevon; the original Werewolf of London.

Pauley Perrette: Hi, Will! How are you?

PP: Good to talk to you, too! How‘s your wife?

PP: Tell her I said, ―Hi!‖

PP: …and I haven‘t seen it yet! You‘re ahead of the game!

PP: Yeah, Abby and her big ol‘ heart!

BE: So was the episode therapeutic, then?

BE: And at least Michael got to do a commentary with his mother.

BE: And how was the dog to work with?

BE: Well, you wear blonde well.

BE: (Laughs) I knew that, I swear!

BE: That would be a good thing, I‘d think.

PP: Where were we?

BE: Which is awesome, I think.

BE: Absolutely. Or even an Abby ―Barbie.‖

BE: So you‘re forever immortalized now.

BE: First off, ―The Drew Carey Show.‖

BE: You appeared at least slightly more in ―Almost Famous.‖

Will Harris and Pauley

Iron Dave Interview

Have you ever met any other famous ''mentalists'' in person?

What's on the horizon for you right now?

Early years (1943–65)

TV: For the audience?

TV: The first track is "In the Flesh"?

TV: At the end.

TV: ...the very beginning of Pink's [simultaneously] life?

TV: The war?

TV: Did that happen to you?

[IN THE FLESH] [THE THIN ICE]

[ANOTHER BRICK: ONE]

TV: "Give up meat, rarely sleep, keep people as pets."

TV: But they're there obviously if you need them?

TV: And then comes "One of My Turns."

TV: And he really is, "he's got everything but nothing."

TV: But you did?

[DON'T LEAVE ME NOW]

[GOODBYE CRUEL WORLD]

TV: Well the guy is now behind the wall...

TV: And now what's he going to do with his life?

TV: Because he's behind the wall?

TV: Doesn't want it at all?

TV: Which you can actually hear?

[IS THERE ANYBODY OUT THERE?]

TV: "Just a little pinprick"?

TV: "There'll be no more aaaaaaaaaaah!"

TV: And he evidences this from the center of the stage?

[THE SHOW MUST GO ON]

TV: Is this him telling himself?

[RUN LIKE HELL]

[WAITING FOR THE WORMS]

TV: Who puts him on trial?

TV: He puts himself on trial?

TV: So now it has really turned full circle.

TV: Is the wall going to remain there?

Do you regret not pursuing an acting career more aggressively?

Iron Dave / November 2009

Greetings and salutations, Mike. Been keeping busy? Or is that an understatement?

How did you meet scream queen Linnea Quigley?

Anything to say before you leave us?