The Ghastly Skeletons of Paul Bunnell

I know I’ll get some complaints here.  “Hey, you just did a blog about that Blamire guy! Do something else!”  Well, I haven’t sold my soul to Larry Blamire or to Paul Bunnell.  I promise that I’ll write blogs about other topics at some point.  Right now, I’m deep into the National Film Preservation Foundation restoration of King of the Kongo, so when someone tells me that I can get a new article, that I don’t have to do anything, and that it has to do with film and history, well I have to post it.

And besides, Paul and Larry are making films that I particularly enjoy, and Paul even sees the light about real film.  (Larry, not so much, but we’ll work on him!)

Paul’s film The Ghastly Love of Johnny X is one of those independents that was shot with love as a tribute to the films of the past.  I particularly enjoy Paul’s description of Kevin McCarthy.  The more I hear about Kevin, the more I regret that I never got the chance to meet him.  He sounds like a really amazing guy.

And, while I’m on the topic, Larry Blamire’s Kickstarter project to fund The Lost Skeleton Walks Among Us is winding down.

So, while I’m on enforced hiatus from the Dr. Film blog, here is an interview with filmmaker Paul Bunnell by filmmaker Larry Blamire.  Can you get any cooler?

Paul Bunnell (left) and Larry Blamire check each other for melon-oma.  (Lost Skeleton Returns Again)
Paul Bunnell (left) and Larry Blamire check each other for melon-oma. (Lost Skeleton Returns Again)

LARRY: Paul, The Ghastly Love of Johnny X is such a refreshing blast of entertaining individuality. Can you recall a singular moment in time when the idea for it was born? Or was it a gradual birth, like a kind of slow mental ooze that happened while you slept?

PAUL: There was not a singular moment in time the idea was born, although that would have been wonderful!  It wasn’t a slow mental ooze, either, and to be honest, thinking about it probably disrupted my sleep.  It was more like a caterpillar, in that the basic idea came to me, not fully formed, but inspiring enough that I started filming.  Then, as you know, production went into a sort of stasis, or cocoon, to follow my metaphor, during which changes were made to the style and the story.  Finally, quite a bit later, the finished film emerged as a beautiful, wacky, black and white butterfly, still bearing a resemblance to its beginnings, but quite different from the original concept!

LARRY: Are you concerned about the current glut of Dark Comic Sci-fi Musical Romances?

PAUL: Actually, I’d be thrilled to see many, many more Dark Comic Sci-fi Musical Romances.  The world could always use more entertainment, and GLJX, of course, is ready, willing and able to lead the way!

LARRY: The film seems to take place in an alternate reality 50s, yet it’s very consistent that way. How did you describe its world to your cast, designers, etc., without them doubting your sanity?

PAUL: There was never any question; my sanity was doubted since day one. I had very specific ideas for sets and props and wanted to give the film an artificial studio look without being condescending or cheesy.  One of the things I wanted to replicate were the craggy exterior sets from Bride of Frankenstein. I told my production designer: “You can mess up the other sets, but no matter what, get this one right!” It was a challenge to achieve the desired effect for the money we had to work with, but Lawrence Kim figured it out and my hat will forever be off to him. By the way, where is my hat?

LARRY: Talk about your casting process; any cattle calls? Mostly folks you already knew?  [Ed. Note: In show business parlance, a cattle call is “a theatrical audition at which many performers are seen only briefly, often in groups.” Just in case you didn’t know.]

PAUL: Some I knew, some I didn’t. I discovered one of the gang girls working at a coffee shop. She was this striking beauty with classic features. I told her about my upcoming movie AND that I was married. I didn’t get a date, but she did happen to call me about a year later when I was casting and I gave her the role of “Annette.” I discovered another Ghastly One at a nightclub in Los Angeles; Morris Everett was the real rockabilly deal, complete with tattoos and a zany personality, so he got the part. Finally there was a very good friend of mine, David Slaughter, a fellow film aficionado who was rather critical of my movie That Little Monster. I put him in GLJX so he would have a birds-eye view of the struggles it took to make a movie. To this day he has never negatively criticized GLJX. Everyone else auditioned for their roles through the casting call process, except for Mr. Projector (Aaron Ball), who will always be invited to appear in every movie I make.

LARRY: Creed Bratton is particularly terrific–how did he become involved?

PAUL: It’s a funny thing to admit, but I had no idea who Creed Bratton was before I cast him. I was trying to get my friend George Chakiris (yes THAT George Chakiris from West Side Story) to play Mickey O’Flynn. He was on the fence about it. I then met Paul (Phantom of the Paradise) Williams and decided he would be absolutely perfect to play Mickey – and after a couple of meetings he said YES! Four years later when I finally got the money to finish shooting, I contacted Paul but couldn’t get his schedule to correlate with ours. I went to my casting director for ideas. She put out a notice and received hundreds of submissions, one of which kept finding its way to my attention. That “one” was Creed Bratton. His agent mentioned The Grass Roots and that he was the real deal from the sixties and so on. I decided to meet with him to discuss the role. During the meeting I mentioned I didn’t own a cell phone. Creed immediately took his phone out of his pocket and threw it into a nearby tree. I knew at that moment he was going to play Mickey O’Flynn. Happily, Paul Williams was able to give us one day and agreed to play the talk show host. His scene was shot on the first day, which also happened to be Creed’s first day. At the end of the day Paul took me aside and complimented me for casting Creed, saying how perfect he was for the part. I had to admit he was right.

Creed Bratton as Mickey
Creed Bratton as Mickey

LARRY: We’ve each had the pleasure of directing the wonderful Kevin McCarthy. Was he just as quiet and reserved on your set?

PAUL: No. He was actually quite feisty… in a good way.

LARRY: Okay, I was kidding right. He was wonderfully insane on our set.

PAUL: That’s true .. and I had the pleasure to witness the insanity when you filmed his cameo in Trail of the Screaming Forehead. What a fun day that was!  When Kevin came to film his role in GLJX I was a bundle of nerves. I just wanted to please him, but everything seemed to go wrong that day. The 35mm camera stopped working and we had to send out for a replacement; this shut us down for a few hours. Kevin kept suggesting changes in the script. One thing he didn’t like was revealing the resurrection suit at the beginning of the movie. He also re-wrote some of his dialogue, which I happily approved. Oh, and that wonderful hat! Kevin thought it would be a good idea for his character to have some kind of a hat and I agreed. A week later I received a magazine clipping in the mail. It was a caricature of the rock band DEVO wearing their signature hats. Kevin drew an arrow to the hats and wrote: “These look interesting.” I thought it was very funny since I was sure he had no idea who DEVO was. The idea was so inspired that our costume designer (Kristina West) created a modified DEVO hat for his character. All thanks to Kevin!

JX Bunnell & McCarthy
Kevin McCarthy (in Devo hat) being directed by Bunnell (left).

LARRY: Kate Maberly’s delightfully wacky in this. Can I say “delightfully wacky”?

PAUL: You bet! Any actress from the UK who can play an American valley girl is the mutt’s nuts — that’s British slang for “delightfully wacky.”

Kate Maberly is like a valley girl.
Kate Maberly is like a valley girl.

LARRY: How tight were you to the script? Any improv?

PAUL: Occasionally I would call out “Start Acting” instead of “Action”.. but for the most part we stuck to the script. The only time we veered was when Creed Bratton or Paul Williams was on set. They came up with quite a few zingers, most of which made it into the final cut.

LARRY: Paul Bunnell: fun to work with? Or Fritz Langian nightmare?

PAUL: I always try to keep my sets fun and positive. There was only one “incident” where I lost it with a pushy Assistant Director. I guess he didn’t understand my Langian working method.

LARRY: Did your concept of the film shift at all over the period of making it?

PAUL: Somewhat. The script was heavily revised and re-written during our six year “hiatus”. In the original story there were two concerts and Mickey O’Flynn was the villain. This changed and Mickey became more fun loving and cartoon-like.  I then added the delightfully wacky Dandi Conners character and the big set piece at the end. A major change was the musical aspect itself. Originally GLJX was NOT a musical – not until I brought Scott Martin on board to write some songs for Mickey O’Flynn. I liked them so much that I decided to add a full blown musical number in the diner. That one turned out so well that I decided to add more songs while waiting for our money. If it wasn’t for the six year break there would only be a couple of songs in the movie – and if it took any longer we might have had more songs (or no movie at all).

johnnyxonesheet-web-xlLARRY: I know you’re passionate about shooting on film–and it looks gorgeous–can you see any circumstance where you would try HD? (come to the dark side, Paul… come to the dark side…)

PAUL: I believe that film is still the best way to capture the image. I finished GLJX without using a digital intermediate and made a few 35mm release prints from the original camera negative. I also made a beautiful 2K DCP (Digital Cinema Package) version of the movie. Both versions are beautiful to watch. If you don’t have a skilled 35mm projectionist there is always a chance something could go wrong with the presentation (missed changeover cues, focus issues, etc.). But with digital projection there is a controlled presentation every time which reduces the odds of something going wrong. So for today’s modern audiences I would prefer to have it seen digitally in a theatre, but for myself, I prefer the look of the 35mm print.

LARRY: How did you get the last of the Eastman Plus-X Negative Film? Burglary?

PAUL: I started filming 2nd unit stuff for GLJX in November 2002 on Kodak 35mm Plus-X black-and-white film stock and continued with it in 2004 when the actors came on board. Then there was the long break between filming and a lot was changing in the industry during that time. When we finally got the money to finish in 2010 I heard that Kodak had just discontinued their Plus-X stock. Luckily there was a small amount of Plus-X in various Kodak facilities, but it was going fast. It seemed that every filmmaker was buying up whatever they could get their hands on. My sales agent pulled some strings and got us just enough to finish the movie with some rolls coming as far away as France.  So that’s how GLJX became the last 35mm feature film shot entirely on Plus-X.

LARRY: Were you a monsterkid? Come on, ‘fess.

PAUL: I used to watch all the classic monster movies every weekend on “Fright Night with Seymour” .. so I guess you could call me a bonafide monsterkid.

LARRY: What was the first movie monster that ever scared you?

PAUL: For some reason I remember being creeped out by War of the Gargantuas. By the time I got a color TV set I was over it .. but that wasn’t until I was 40.

LARRY: Off the top of your head, give me five films that influenced or affected you greatly, but not in alphabetical order?

PAUL: How about in year of release order: Charlie Chaplin’s City Lights (1931); James Whale’s Bride of Frankenstein (1935); Walt Disney’s Snow White and the Seven Dwarfs (1937); Alfred Hitchcock’s Vertigo (1958); and Stanley Kramer’s It’s a Mad, Mad, Mad, Mad World (1963).

LARRY: Who’s your favorite painter?

PAUL: Earl Scheib (he painted cars when I was a kid).

LARRY: Did you make home movies as a kid?

PAUL: Yes. I made my first one in 1974 on super 8mm film with no sound. My first “talkie” was a year later in which I played the role of “Count Dracula”. I followed it up with “Bite of the Werewolf” featuring a classic Don Post mask. I made a total of 22 films during the 1970s-1990s

LARRY: Loved the talk show scene; a good example of the film’s High Strangeness. Is surreality a goal of yours? Or do I just see what I want to see?

PAUL: I love the surreal. The sound designer had all this canned laughter and applause that sounded like it was coming from a huge studio audience. I decided it was way too much and dialed it back to almost nothing. I wanted to give the scene a feeling of awkwardness. I wanted the sound of the actual audience watching GLJX to be the laugh track. It was probably a risky choice, but I think it works and helps give the scene a High Strangeness feel.

LARRY: The score is fantastic. Nice to see the Moon-Rays involved. Tell us about Ego Plum and Scott Martin.

PAUL: Ego Plum and Scott Martin are a couple of multi-talented musicians whose work compliments each other nicely. Scott is a classically trained composer who writes his score on paper, like Amadeus did back in the day. He rehearsed the singing parts at his house and was present for all the recording sessions. He really is quite brilliant. Ego Plum is one of those self-taught musicians with a great ear for arranging and composing music, although I’m not sure about his other ear. He orchestrated and performed the music for Scott’s songs, which gave them a unique sound. He also composed the film score which took several months to complete. I was usually there for the sessions and helped out with bongos, phone books and bicycle tires. The Moon-Rays title track is a delight and pretty much encompasses all things musically ghastly, but in a good way.

LARRY: The production numbers are ambitious and very nicely done. Nightmare to stage or Fun Time; you decide!

PAUL: I usually had a vague idea for staging but wasn’t completely sure until I surveyed the set. I would walk around the sound stage with headphones and listen to the songs before filming. The choreography was worked out well in advance with ample rehearsal time. For the numbers I worked with choreographer Carolanne Marano and let her co-direct with me. This method worked really well and I think the quality shows on the screen.

LARRY: I remember seeing That Little Monster first listed in the Sinister Cinema catalogue and being intrigued. Talk a little about how that film came about.

PAUL: I wrote a script for the television show Monsters with high hopes of getting my directing career started.  I met with producers but there was little interest so I decided to make it myself. TLM turned out to be more of an experimental art film with an appearance by Forrest J Ackerman at the beginning and a cameo (his very last) by Bob Hope at the end.  I never got directing work based on its odd nature but the Sinister Cinema and Elite Entertainment releases did get me some much needed press. It was then I decided to make GLJX. Like TLM I decided to shoot mostly on weekends. This went on for five months until the money ran out. I was just about to give up after trying unsuccessfully for six years to raise finishing funds when in the eleventh hour a former grip on TLM (and good friend) Mark Willoughby came to my rescue! He financed GLJX and was quite pleased with his promotion to Executive Producer. Who would have thunk it?

LARRY: Radiator girl from Eraserhead? True or false?

PAUL: False. She is actually known as “Lady in the Radiator”.. but if you’re referring to De Anna Joy Brooks’ expanded cheeks makeup in GLJX, this was not inspired by Radiator girl.

LARRY: What are distribution plans?

PAUL: We had a small theatrical release and quickly became known as the lowest grossing film of 2012. Strand Releasing became our official distributor in 2013 and released a beautiful DVD edition, chock full of exclusive bonus features.  Also, GLJX is currently available to stream on Netflix.

LARRY: Can you give us any clues about what’s next for you? Already working on other projects?

PAUL: My next movie is called Rocket Girl; about a young girl’s adventure on Earth in the futuristic year of 1967. There’s also a bio-pic about 1960’s pop icon Tiny Tim. But the one I’m really itchin’ to do is a reimagining of Victor Hugo’s The Man Who Laughs.

[Ed. Note: It’s interesting to hear these guys gush on about The Man Who Laughs.  I was a contributor to the Kino DVD of that film.]

LARRY: Okay, that is way cool. One of the first movie monster paintings I ever did was one of (yeah, I know he’s not really a monster) Conrad Veidt’s startling images from the 1928 film. Not to give too much away, but would it be a period piece?

PAUL: My version of The Man Who Laughs will be reimagined to take place in a 1930s mythological setting; more of a fantasy driven fairy tale than an authentic period piece.

LARRY:  Sounds like another piece of unique entertainment from the mysterious mind of Paul Bunnell!  Thank you very much for the interview, Paul.  This has been perfectly ghastly, but – as you say – in a good way!

jx poster_style d

Just in case you missed all the hyperlinks, you can read more about Paul Bunnell’s Ghastly Love of Johnny X here.

Larry Blamire is trying to fund his next movie, The Lost Skeleton Walks Among Us here.

And, if you’re a first time reader, this blog is promoting a classic film TV show that I’ve been trying to launch for years. It’s here.

10 Questions With Larry Blamire

Back in 2003 or so, Mike Schlesinger was promoting a trailer for a movie that Sony had just picked up.  I saw the trailer and howled with laughter.  Mike told me that it was a real trailer for a real movie.  I asked him if the filmmakers could keep that pace up for the length of a whole feature, and he assured me that they did.  It was a little film called The Lost Skeleton of Cadavra,  and I bugged Mike mercilessly to find me a theater where it was playing.

Making a movie is a tricky thing, and independents doubly so.  It’s almost a delusional state, or a psychological malady.  You need to have a crew of at least a dozen people working together on a project that the odds say may never be seen outside of the 2am-4am time filler slot on TNT.  Most don’t make money, and most lose their investment entirely.

This is why I’m often enchanted with the can-do spirit of 1950s filmmakers.  As much as we like to make fun of him, Ed Wood was a successful filmmaker.  He beat the odds.  He got films made and released.  Roger Corman was and is a successful filmmaker.  His films hit theaters and TV.  Were they silly?  Sure!  Cheap?  You bet!  But they got made… and the directors came back to make more.  I’d guess that 90% of movies that are started are never finished, and maybe half of those that are finished are ever released in some fashion.

I sensed an immediate bond with writer-director Larry Blamire’s creation when I finally got to see it.  A lot of people don’t really understand what he was trying to do.  The most clueless critics (I’m not going to link to a clueless review… find it yourself) say that Larry is spoofing 1950s-60s movies and making a deliberately bad film.  He’s not.  He’s making a tribute to those films, and he’s even limited in much the same way they were.  Sure, it’s funny, and it’s a little more over-the-top than the originals were.  But it’s clear that Larry loves movies, low-budget or not.

One of the marvels of Lost Skeleton was the way Larry aped that poetic but tin-eared dialogue that we know so well.  Ed Wood is famous for it, but you can hear it ring through epics like The Conqueror and most of the Roger Corman films of the period.  It’s the sound of “Get it done by tomorrow morning so we can shoot this.”  Larry nails it.

And it takes a special kind of actor to be able to read that sort of dialogue without sounding like he’s an idiot.  John Wayne couldn’t do it, but Charlton Heston could.  Lyle Talbot did it in Glen or Glenda.  But all of Larry’s talented stock company does it brilliantly.  It’s a joy to watch these folks tear their way through the film, with innovative reaction shots, and clever but not-quite-hammy portrayals.

When Larry premiered Lost Skeleton Returns Again at a convention in Kentucky,  I drove for several hours to see it.  I did it again to see his cut of Trail of the Screaming Forehead.  (I even resisted the chance to throw spitballs at Mike Schlesinger when he won the Rondo award, and that was self-restraint, people.)

But now Larry is spearheading a brilliant and innovative Kickstarter campaign to make the third Lost Skeleton film.  I couldn’t let this opportunity go without talking to him about it.  Most Kickstarter campaigns are pretty static and dry (like mine was),  but Larry has a new video or hook every couple of days.  It’s quite cool.

For the record, The Lost Skeleton Walks Among Us is a project I endorse wholeheartedly.  But then again, I’m that guy who has a popular blog for a TV show that he can’t sell!  Still, we all must do our part, and this is mine!

I INTERVIEW NOW!  (Did you see what I did there?  Well, if you didn’t, then skip it.)

Writer/director/actor/producer Larry Blamire
Writer/director/actor/producer Larry Blamire

Q1. You’ve done some clever satires of popular genres.  Your first picture was Lost Skeleton of Cadavra. That’s been discussed to death, but I’d like to talk to you about the pictures that inspired it.  It has a very Bert I Gordon/Roger Corman/even 50s Universal feel to it.  These pictures have a feel of “Wow, these poor guys had nothing to work with.  It’s amazing that the film even got finished.”  You seem to celebrate that spirit.  Would you discuss that feel of 1950s filmmaking and maybe give us some films that gave you some inspiration?

LS1LB: I wrote a play in the late 80s, a comedy-with-heart called Bride of the Mutant’s Tomb that had an Ed Wood-like director scrambling to finish his film in Bronson Canyon while everything seemed to go wrong.  I didn’t realize that would be me several years later.  Although everything wasn’t going wrong for us of course, it was still a mad scramble and that now almost seems a “method” approach to what we were emulating.  My relationship with 50s low (or medium) budget scifi is complex; I chuckle with respect.  That is to say no matter how unintentionally funny some of them were (and plenty weren’t) I still admire that they got it done.  It’s almost heroic.  And I love when a film like my oft-mentioned Attack of the Crab Monsters conveys genuine atmosphere, a sense of doom.  It’s crazy.  They often touch a surreal vein in me, the incongruous imagery they present, whether consciously or not.  The reversed footage of The Blob running up the old man’s arm, giant eyes crawling around snowy mountaintops, even that skinny big-headed monster in Fire Maidens of Outer Space lurking in a lush natural Eden-like setting.  Unconscious strangeness is still strange.

Q2. I really loved that your sequel to Lost Skeleton was not just a rehash of the original, but it was a much bigger-budget production that went in a completely different direction.  From an artistic standpoint, tell us how you like to approach the idea of sequels.  I know that a lot of the 1950s sequels don’t do a good job of changing direction and become rehashes.  One particular film that does it well is Revenge of the Creature, which is quite a different film from the picture that spawned it, Creature from the Black Lagoon.  On the other hand, the Godzilla pictures really started to get old quickly after a promising start.

LS2LB: I agree.  And Revenge of the Creature is a great example.  I enjoy that film as much as the original (though every time I watch it I do want just a little more monster-on-the-loose action).  I do dislike sequels that rehash.  I only did the second Lost Skeleton movie because I had a different idea, and I went from dead set against it to “I gotta make this movie.”  Even the music reflects something entirely different; from the low budget scifi style production music to the Herrmannesque feel of Morgan and Stromberg’s score.  I love both but the latter reflected the matinee adventure perfectly.  Expedition, jungle, monsters–I still love that formula.  And guess what–it still worked for my favorite Jurassic Park movie, Jurassic Park 3, another example of a sequel treading different ground.  Hell, it was more fun than either of its forerunners.  Do a sequel if you have something different up your sleeve, otherwise don’t bother.

Legendary Bob Burns with gralmanopidon (Frank Ippolito) for Lost Skeleton Returns Again
Legendary Bob Burns with gralmanopidon (Frank Ippolito) for Lost Skeleton Returns Again

Q3. As everyone knows, you’re currently trying to finance the third Lost Skeleton movie, which I understand is a departure from the last two.  Your Kickstarter campaign is really brilliant.  What did it take for you to get this going?

LB: Well, thank you and it’s taken a lot of work.  I tried to start it up last year but I was taken away by other projects.  Several months ago I began making the videos that I felt were necessary to try and get across that we do some wacky and different stuff.  It started with the “lost” footage from the original “silent” Lost Skeleton, which was created to be only one small part of the faux documentary A World Without Lost Skeleton.  And that piece was a (something) load of work for me, some pretty intensive editing.  But I have to say I was as happy with the outcome as anything I’ve created.  It sets up the conceit of the Lost Skeleton being at war with me, which I thought might be an amusing arc to keep the Kickstarter interesting.  Add to that exec producer Mark Stuart’s mighty effort with the pledge incentives and you’ve got a lot of work put into this.  As to The Lost Skeleton Walks Among Us, once again the story came to me and presented something very different from its predecessors; the characters living in the suburbs circa 1963, with Dr. Paul experimenting with atmosphereum while a series of “radiation murders” is going on, and the Lost Skeleton moving in next door as he seeks to get his full power back.  It reaches new heights of absurdity, which is always of interest to me.

Q4. You made a number of episodes of Tales from the Pub, which are quite hilarious.  Those are great spoofs of 1950s “spooky” shows, particularly One Step Beyond and even some of the John Nesbitt shows.  I particularly like the way that you have a nasty film-like splice in the credits of every episode, just like a bad syndication print would have.  Can you talk a little about the 1950s shows that inspired you for this?

LB: We were having meetings in Dan Conroy’s basement pub like once a week, looking to plan our next project and it came to me as something of a creative outlet; these perfect little economical pieces that we could shoot on our own and post online just to keep ourselves sharp, and of course have fun.  I’m pretty sure I had just seen a fairly creepy episode of Lights Out (I think it was) called “The Martian Eye” that had something of a claustrophobic paranoia to it.  These were infectious for me; the more I wrote the more came to me–and I really enjoyed the challenge of having to tell a story in just a couple pages.  The cast was game and everyone chipped in wearing different hats; shooting, lighting, etc.  One Step Beyond was probably the closest model, but like our movie parodies I hesitate to add that I really do enjoy that show.  It’s nothing like, say, spoofing something cause it’s “bad”, it’s spoofing it because it’s fun.

Production designer Anton Tremblay with his  old dark house model for Dark and Stormy Night
Production designer Anton Tremblay with his old dark house model for Dark and Stormy Night

Q5. I almost feel that your spoof of “old dark house” pictures, Dark and Stormy Night has too much material to spoof, since it’s never really been done before.  You caught everything in these pictures, from the scheming relatives to the rigged seance, the dumb “wait, that’s impossible” character identity switches, and the hidden gorillas in the basement.  I’d like you to talk about this genre a little and how it inspired you.  Give us some specific vintage titles you’d recommend.

dasnLB: I really do love old dark house pictures–Jen [actress Jennifer Blaire] and I have been known to binge on them–and it’s sad to think we may be (incredibly) running out of ones we haven’t seen (I’m still hoping Columbia’s 1933 Fog, which sounds like an old dark house on an ocean liner, may turn up).  I decided it would be absurd fun to incorporate every ODH setup there is (some of which you mention), combining the will, stranded travelers, washed-out bridge, curse, escaped lunatic, etc.  When Jen and I watch them we have strict criteria; for instance if the night lasts only one act, or if the police arrive and the setting is no longer so isolated, we’re inevitably disappointed.  If there’s no storm, that’s a letdown–at least give us some howling wind for crying out loud.  In fact, atmosphere might just be the most important ingredient for us.  And even though DASN is a comedy I wanted it to have some of that.  Just to rattle off some favorites: The Phantom of Crestwood, The Bat Whispers, Night of Terror, Menace, Rogues Tavern, One Frightened Night, House of Mystery to name a few.  The Old Dark House is wonderful of course, though highly atypical, and Rene Clair’s And Then There Were None is probably the classiest, and a wonderful film in any category.  Of the made-for-TV movie heyday, the best would have to be the excellent but unfortunately titled She’s Dressed to Kill (1979).  Of course I love the alternate venues, like the old dark baseball stadium in Death on the Diamond or old dark movie studio of The Preview Murder Mystery.

Larry with his wife, actress Jennifer Blaire
Larry with his wife, actress Jennifer Blaire

Q6.  I know you’d rather not be typecast as “that Lost Skeleton guy” because you have a lot more ideas to offer.  Please discuss Steam Wars and what you’re doing with that.

LB: Steam Wars is my epic and it’s coming into its own, starting with the first three books of a graphic novel, the first of which is almost at the printer, followed by action figures–all leading up to a movie (and possible franchise).  I’m partnered with Jerrick Ventures on this, which is Jeremy Frommer and Rick Schwartz.  SW incorporates everything I love about big action movies, swashbucklers and cliffhangers and involves massive Victorian fighting machines shaped like armored warriors and manned by crews.  It’s steampunk, though I was developing it before there was such a term.

Teaser trailer for Steam Wars
Q7. Rumor is that you’ve worked a little with Ray Harryhausen… I’ll tip my hand and admit that I am a big fan of Ray’s.  Just because I’m a fan… tell me a little about that experience…

LB: Well, I would never say I worked with Ray (if only!).  However just to have his blessing on Trail of the Screaming Forehead, in that we were using traditional stop-motion, was a thrill for me.  Hell, hanging with him on several occasions was a thrill.  One of my boyhood inspirations and idols, the last true cinema magician.  The Cyclops emerging from the cave in 7th Voyage of Sinbad was a defining moment for me.  I’m proud to have Trail called a “Ray Harryhausen Presents.”

Andrew Parks blazing The Trail of the Screaming Forehead
Andrew Parks blazing the Trail of the Screaming Forehead.

Q8. Trail of the Screaming Forehead is a departure from the Lost Skeleton genre, but a subtle one.  It’s more of a bright Technicolor film, much like some of the color 1950s and early 60s fare. Can you discuss the different artistic “feel” of Trail and what films inspired you on this?  I keep thinking of Invaders From Mars for some reason…

LB: Definitely, as well as Invasion of the Body Snatchers.  Small town residents gradually taken over until the heroes become more isolated and paranoid.  I wrote it immediately after the first Lost Skeleton and it just came to me; again, a need to do something quite different but with a similar humor.  This one had no “strings showing” though.  It looks slick and polished, as though made by different folks in the early 60s.  Mike Schlesinger calls it Douglas Sirk meets Body Snatchers or something like that.  It definitely has that look.  Are you familiar with that great book Still Life, with those ridiculously rich color photos from 1950’s movies?  Like that.

I should also mention I’m writing the audio Adventures of Big Dan Frater, with Brian Howe, Dan Conroy and Alison Martin reprising their Screaming Forehead roles in a series of outrageous tales. The great Philip Proctor (Firesign Theater) is narrator. These will be available soon, and ongoing.

(Dr. Film responds: I’m not familiar with Still Life.  I suppose I should be.)

Q9. I know you shoot digitally, which is a particular preservation problem.  The version of Final Cut Pro that you used to cut Lost Skeleton is now unsupported and obsolete!  Do you have any plans to preserve your films so that the master materials are not lost?  (I didn’t make a pun about the Lost Skeleton becoming lost, so you’re welcome…)

LB: Thank you for that.  No, you know, I really don’t.  But I should.  Definitely.

Q10.  I often get interviewed by people who have no idea or understanding about what I do, and I think they don’t ask questions that are entirely relevant to the point.  What question should I have asked that I didn’t ask, or what would you like to answer that I didn’t ask?

LB: I actually really liked these questions because they’re somewhat different than what I’ve gotten before.  The only thing that comes to mind is something like “what are you watching now?” which may or may not be of interest.  I just finished With Fire and Sword, Jerzy Hoffman’s 1999 epic that wraps up his trilogy set in 17th Century Poland, which I found beautifully entertaining and richly satisfying.  It might even edge its way into my top ten favorite movies which changes gradually over time. René Clément’s Les Maudits made it on there not too long ago.  Blowup  may always be at the top for me.