“The special Halloween double issue of Rue Morgue magazine included a number of interesting features, as usual, but one which caught my eye was a description of a new documentary on titled Lovecraft: Fear of the Unknown (Wyrdstuff Productions, 2008). This fim was directed and produced by Frank Woodward, and after getting in touch he graciously and enthusiastically talked about this production.
TheoFantastique: Frank, thanks for making this great documentary, and for allowing me to screen it for this interview. How did you come to develop a personal fascination with Lovecraft and how did it lead to this documentary coming about?
Frank Woodward: I first became aware of Lovecraft like most people, I expect. It was the Call of Cthulhu role playing game, mainly the monsters within. I’ve always been a monster fan and who could resist the tentacled beasties in CoC. That led to my reading some of the major stories… Call of Cthulhu, Pickman’s Model, Rats In The Walls. I have to admit, though, that my Lovecraftian knowledge was basic.
The desire to make a documentary was a more recent one. I occasionally produce DVD extras for Anchor Bay. There was discussion of doing a short bio of Lovecraft for the Re-Animator special edition. It didn’t happen for various reasons. By the time that decision was made, however, I had done quite a bit of research on the man. In some way I experienced what many of the people who’ve seen the documentary experienced. I was reminded how much I enjoyed Lovecraft’s work and wanted to throw myself headlong into learning more. Making this documentary was almost like a college course. I think that’s how all documentaries should be made. They should be a journey of discovery. The desire to learn all you can is why you bother making the film in the first place.”
The “overwhelming shock” of his father’s death caused Mallett, now 63, to “just disconnect from reality,” he says. So when, at age 10, he started building a jury-rigged jalopy, based on the gyroscopic contraption on the cover of the Classics Illustrated version of H.G. Wells’s The Time Machine, it might have seemed as if he had gone over the edge.
But the next decades only saw Mallett’s focus on his mission intensify with laser-like precision. He devoured every book on Einstein he could find. He boned up on differential equations and tensor calculus. And by 1973, at Penn State, he’d earned his Ph.D. Moved by the intensely personal nature of his quest, Spike Lee announced this past summer that he’s currently writing a screenplay for a movie “‘ which he’ll direct “‘ based on Mallett’s book, Time Traveler (Thunder’s Mouth, 2006).
Brilliant Noise takes us into the data vaults of solar astronomy. After sifting through hundreds of thousands of computer files, made accessible via open access archives, Semiconductor have brought together some of the sun’s finest unseen moments. These images have been kept in their most raw form, revealing the energetic particles and solar wind as a rain of white noise. This grainy black and white quality is routinely cleaned up by NASA, hiding the processes and mechanics in action behind the capturing procedure. Most of the imagery has been collected as single snapshots containing additional information, by satellites orbiting the Earth. They are then reorganised into their spectral groups to create time-lapse sequences. The soundtrack highlights the hidden forces at play upon the solar surface, by directly translating areas of intensity within the image brightness into layers of audio manipulation and radio frequencies.
I’m a little late with this one. R.I.P. Michael Crichton.
“Science Not Fiction was saddened to learn of the death of Michael Crichton yesterday. His 1969 novel, The Andromeda Strain, alone would have been enough to make him a science fiction legend, but he turned out string of taut technothrillers, even equalling The Andromeda Strain’s iconic status with 1990’s Jurassic Park.
His greatest strength was in his ability to imbue his novels with a sense of authenticity; The Andromeda Strain was littered with realistic screenshots and computer printouts and came with a detailed (and entirely fictional) bibliography. Jurassic Park has become the cultural point of reference for discussions about biotechnology, cloning and genetic engineering. If Crichton had a weakness, it was his fondness for the theme which repeats over and over in his novels: technological hubris. Some advanced technology is confidently promoted by scientists as progress toward a better world. Unexpected side effects or interactions that the scientists overlooked in their dash to the future manifest themselves, and things get pretty messy from that point on (and to be fair, usually a really fun read.) But each time, it is implied that anyone who is not an overreaching scientist or an idiot would have known to leave well enough alone.”
Craig Baldwin, director of Tribulation 99 and Spectres of the Spectrum, is screening a new movie about Jack Parson, L. Ron Hubbard, Margaret Cameron and Aleister Crowley called Mock Up ON Mu.
SF360: Back in the ’60s, dimwit journalists would ask McCartney and Lennon what they wrote first, the music or the lyrics. In your case, do you write a script and find the footage to illustrate it or do you have chunks of footage you love and invent a narrative to fit them?
Baldwin: The question is always asked after every one of my films. It’s a process. If I just dive into my archive, I wouldn’t get out of my archive. There has to be kind of a map, a direction. The script was not written when I shot the [original] material. I found the story of Jack Parsons, as a myth, as a schematic, as a way forward. These subject areas/ or themes would be included: the occult, the aerospace-rocket stuff, mind control, all this brain stuff that’s obviously a parody of Scientology, desert landscapes, military-industrial, the moon/outer space. Without a script, even though I knew the story, you can go out into the desert and shoot people looking into the meteor crater. It’s mythic, adds scale, is cinematic. So the two come toward each other”‘the accumulated ideas you have and the accumulated materials you have. I probably should have been a little more in control of my material. The best model for me was the underground film”‘this is a term you hardly hear anymore”‘you go out with people who may or may not be paid actors and you just generate ideas in a great location. I did that with Spectres too. Went down to the Salton Sea and got some good shots. It’s not a realistic movie, it’s a series of ghostly gestures. It’s all shot without sound, and you add the voices later. It is this idea of a personal commitment and a personal engagement with the project. Would I be a painter if I didn’t like to paint? That’s preposterous. There’s a certain amount of that in filmmaking, Filmmaking is absolute masochism, just so you know. Sometimes you have to burn some film that you’ll never use. You just have to be generous with yourself, and with visual possibilities.
The moviemaker, who was attending the Rome Film Festival on Thursday, said he has written 60 pages of a novel, but besides ruling out that it would be a horror or science fiction, offered few details on the project.
“Based on the pages I have written we found publishers all over the world, which is very terrifying to me,” Cronenberg told reporters. “It’s at a very delicate phase right now, so I can’t really talk about it. It’s not like Stephen King, I don’t know what it’s like but you wouldn’t call it a horror or science fiction novel at all. But what it is exactly, well, I don’t know yet.”
I’ve been a big fan of Gary Larson’s “The Far Side” for as long as I can remember. His “outside the box” comics of silly reactions that monsters, animals, insects, aliens, and even vegetables might have in reaction to us human beings pulls me out of my reality tunnel and makes me laugh, and sometimes more importantly, is a reminder not to take everything so seriously. Now a DVD set of “Tales From The Far Side”, an animated series that appeared on TV in 1994, is available.
“Almost everyone has seen a Gary Larson Far Side cartoon in a newspaper or on a T-shirt, mug, calendar, or greeting card. But if you weren’t watching CBS on the night of October 26, 1994, you missed Tales From the Far Side, an award-winning animated short film that you’ve probably never heard of. Yes, that’s right: the Far Side was animated. Twice. And it’s brilliant.
The first short film premiered as a Halloween special in 1994, where couch potatoes and animation buffs like me saw it and were never able to forget it. The program was never broadcast on television again, but it did make the rounds at the Annecy International Animated Film Festival, where it took the Grand Prix. Three years later, a sequel (aptly titled Tales From the Far Side II) never even made it to television.
Both short films are comprised of a series of vignettes in the visual style of the print comics, with a haunting musical accompaniment by jazz guitarist Bill Frisell (who has featured some of the scores from the soundtrack on his disc Quartet). The tone ranges from the slapstick to the macabre, humorous to depressing, and even has some live action cow action thrown in there.”
“With Hollywood hitting up comic books for blockbusters, a new comics publisher is looking to India for ideas. “The world is increasingly realizing that India is a source for creativity and great ideas, not just a back office to execute them more cheaply,” said Gotham Chopra, part of the management team at Los Angeles-based Liquid Comics.
One of the first projects for the publisher will be bringing its Ramayan 3392 AD (pictured) - a colorful, 21st-century re-imagining of Indian literary epic the Ramayana - to movie theaters. Liquid has teamed up with Mandalay Pictures and 300 producer Mark Canton for the film, which has a planned release date of 2011. Liquid sprang from the ashes of Virgin Comics, a shuttered enterprise from Richard Branson and the Chopra family that was meant to hammer the dense narratives of India and Asia into graphic novels for the American mainstream and beyond. Chopak and other members of the Liquid management team undertook the buyout of Virgin Comics to continue the quest at the new company.
Chopra talked with Wired.com about Liquid’s birth, a new wave of Indian comics artists and the challenge of bringing an ancient Sanskrit epic to the silver screen.”
“Pete Takeda’s book An Eye At The Top of The World has reportedly be optioned for a movie, and will be coming to the big screen soon, according to this story over at RockandIce.com. Producers Steve Schwartz, Paula Mae Schwartz and Nick Wechsler have purchased the rights to the true story and intend to make it into a fictional film.
The book, which I reviewed back in May of 2007, deals with a CIA plot back in the 60’s to install a nuclear powered listening device on Nanda Devi in a remote region of India. The device was suppose to watch the burgeoning Chinese nuclear program and watch for test of their atom bombs. After months of extensive training, a climbing team went up the mountain carrying the device, but near the top, bad weather set in, so rather than carrying the heavy device back down the mountain, they elected to lash it to a rock, and return in the spring to complete the mission.
When the team returned several months later, they discovered that an avalanche had swept the device off the mountain, and it was never seen again. Presumably it was deposited thousands of feet below in a glacier. Over time, the area was closed off, and rumors arose that the mountain was radioactive. The nuclear power plant had more than four pounds of plutonium in it, enough to poison everyone on the planet, and the theory is that it was broken open on the glacier, and may be moving towards Ganges River, home to millions of people.”
“Remember those Choose Your Own Adventure books from way back in the day? You know, the ones that read non-linearly and offered choices like:
If you decide to start back home, turn to page 4.
If you decide to wait, turn to page 5.
Of course you do. Well, director Chris Lund has done us one better: The Outbreak is a choose your own adventure film about-you guessed it-a zombie outbreak. Visit the site and as you watch the movie, you’re presented with choices you have to make in order to move the plot along. Depending on what you choose, a different sequence in the film is cued up. Decide on the right course of action, and you live on to the next sequence. Make the wrong choice, of course, and you die a brain-munchingly gruesome death.”
“As I searched Amazon.com for reading materials related to the fantastic to add to my wishlist the description of Monster Theory: Reading Culture (University of Minnesota Press, 1996) struck me as intriguing: ‘Explores concepts of monstrosity in Western civilization from Beowulf to Jurassic Park.’We live in a time of monsters. Monsters provide a key to understanding the culture that spawned them. So argue the essays in this wide-ranging and fascinating collection that asks the question, What happens when critical theorists take the study of monsters seriously as a means of examining our culture?
‘In viewing the monstrous body as a metaphor for the cultural body, the contributors to Monster Theory consider beasts, demons, freaks, and fiends as symbolic expressions of cultural unease that pervade a society and shape its collective behavior. Through a historical sampling of monsters, these essays argue that our fascination for the monstrous testifies to our continued desire to explore difference and prohibition.’
Monster Theory is edited by Jeffrey J. Cohen who is associate professor of English and human sciences at George Washington University. Dr. Cohen agreed to discuss the collection of essays that make up this book, and in particular his contribution to the volume.”
The usual shit talking about Hollywood plus an update on his current projects, including:
There’s also a huge sort of reference book of magic that he is toiling on with contributions from notable artists and writing peers. It delves into Kabbalah, astral projection, seance, tarot, practical applications of magic and deep research into the origins of magic history, such as the true beginnings of the Faust tales. Talking about the book, the skeptical shaman of comics sounded positively giddy, especially for a parchment wizard trapped in a crass digital age.
“Magic is a state of mind. It is often portrayed as very black and gothic and that is because certain practitioners played that up for a sense of power and prestige. That is a disservice. Magic is very colorful. Of this, I am sure.”
I didn’t know that David Cronenberg is directing an opera based on his 1986 remake the of the Fly.
DEFAMER: Why does it seem like all your movies are in some way obsessed with the human body?
CRONENBERG: People don’t pay enough attention to the body. My understanding of life is very existential. I think that we are our bodies. There’s nothing else, and when we die, that’s it. No afterlife. I’m very anti-religious because religion tends to disembody you. There’s an emphasis on your spirit, or where you’ll be when your body’s gone, and that’s misleading. I think the world would be a better place if it we admit that’s not the case.
“Bill Hicks, the anarchic comedian who shocked enough people in the late 80s and early 90s to be dubbed ‘Goat-boy’, is to be played by Russell Crowe in a new biopic. His tale has enough laughs, drink, drugs and general chaos to be bog-standard comedian biopic material, and the film is likely to raise more laughs than similar material such as the very intense 1975 Lenny Bruce biopic Lenny. I guess we’ll find out if Mr. Hicks was quite as sex-starved as he was always complaining of…”
Hot on the heels of a different announcement about Werner Herzog’s collaboration with Nic Cage comes words of an even stranger paring. The Hollywood Reporter reports that a film co-written by Herzog and his longtime assistant director Herbert Golder will be produced by David Lynch and his Absurda production company.
My Son, My Son is based on the true story of a man who, based upon a play by Sophocles, kills his mother with a sword. Lynchian enough already, the film will tell the story in a flashback structure. Also following Lynch’s style, it will be shot in DV rather than film. My Son was actually delayed in order for Herzog to work with Cage while his schedule allows. He’ll also be tight on shooting afterwards, since he’s signed on to shoot The Piano Tuner this fall. With his documentary Encounters at the End of the World out this summer, even for Herzog, 2008 is one prolific year.
As odd a collaboration as Herzog and Lynch may be (and trust us, it’s odd), even more unlikely comes the announcement that Lynch and Absurda will be working on a film with Alejandro Jodorowsky. Best known for his series of surreal, mind-bending Fando y Lis, El Topo and The Holy Mountain, Jodorowsky hasn’t made a film since 1990. Jodorowsky certainly shares a lot more common ground with Lynch, but hearing of any new project by the Chilean 79-year-old is a bit incredible.
Jodorowsky’s film will be the metaphysical gangster movie King Shot. Already guaranteed to be NC-17 (no surprise given his earlier works), the film features Marilyn Manson as a 300-year old pope and will star Nick Nolte.
Meanwhile, Lynch is spending any time he’s not producing on his own project according to Hollywood Today. A “Lynch-esque documentary,” (as if he could direct any other kind), it’s a road movie where he speaks with regular folks on the meaning of life and discusses the ’60s with Donovan and John Hagelin. Looks like these days Lynch may be just as busy as Herzog.
FLicKeR iS a new Dream MachHine documentary directed by Nik Sheehan, who is apparently much beloved of rAndOM CapITaL LetTerS. We begin with Sheehan carting a new and beautifully engineered Dream Machine around and testing it out on rock stars, DJs, and old cronies of Gysin, who died in 1986. For the most part, hearing their reactions to the device is no more interesting than hearing about people’s pot trips, but because Sheehan picked some perceptive-if not always particularly germane-trippers, the talking heads give good talk. Sitting in a comfortable New York loft with his eyes closed (which is the best way to let the Dream Machine’s pulsing frequency bring on the alpha waves and audio-visual stimuli that can trigger trance), Sonic Youth’s Lee Renaldo, not only describes beautiful clouds of color but points out the device’s connection to early cinematic devices.
Unfortunately, this is the only time this vital vein of flicker tech is even mentioned in the film. The brain science behind the effect gets a bit more time, but in general this is a very average documentary that blows more chances for excellence and depth than it exploits. The written voice-over material is terribly banal, with potted histories of the Beats and Hassan i Sabbah (illustrated with cheesy CG that brings back 1992 rave graphics), and a legion of unfortunate phrases. For example, Gysin is described as a ’serious dabbler in the occult’ (a serious dabbler?) and his machine as a ‘portal into the space-time continuum.’ I mean, aren’t we already stuck inside the space-time continuum? Didn’t these guys want to find a way out?
This is for all you documentary addicts out there:
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With a library of 225 documentaries, and rapidly growing - browse by topic or go through the alphabet from A-Z - you’re bound to find films that resonate with your interests. There is a widget for EVERY film, so any film you like can be snagged. [..] Enjoy your visit, snag a film, and keep checking back because we’re adding great news titles daily.”
“More American soldiers kill themselves than are killed by the enemy, and many others suffer the effects of post traumatic stress disorder. As many as eighteen soldiers a day are committing suicide and most of those soldiers kill themselves after they return home. Their divorce rate has tripled since the beginning of the war and substance abuse among veterans is four times the national average. But that’s just the tip of the iceberg according to Who Will Stand producer/director Phil Valentine.
The two hour documentary covers, in detail, the plights of more than a dozen soldiers who have returned either physically or psychologically wounded, including hard-to-measure effects of post traumatic stress disorder. ‘Nobody is surprised that war creates amputees, homelessness, drug and alcohol abuse, divorce, but very few people are aware of the enormous rates of these issues,’ said Valentine. ‘And almost no one is aware of the psychological issues that nearly 100% of combat soldiers suffer with, namely Post Traumatic Stress Disorder or PTSD.’ Many of the films on the war in Iraq and Afghanistan take sides on whether we should have gone there, whether we should still be there and when we should leave. Who Will Stand covers none of these issues, focusing instead on the plight of returning disabled American veterans.”
“When “Hellboy II: The Golden Army” hits the big screen on July 11, it won’t just be comic book aficionados salivating over the lush, fantasy-world storyline.
Fans of Celtic mythology, too, will recognize the name of the film’s principle villain, Prince Nuada, a character loosely modeled after an important figure in the ancient folklore of Ireland. The film is peppered with other references to the myths of the Celtic tribes, who lived on the Emerald Isle beginning in 700 B.C.
The story behind Celtic mythology and the whimsical tales themselves would make for several interesting movies in their own right.”
. Metropolis, the most important silent film in German history, can from this day on be considered to have been rediscovered. […]
The original version could only be seen in Berlin until May 1927 - from then on it was considered to have been lost forever. Those recently viewing a restored version of the film first read the following insert: “More than a quarter of the film is believed to be lost forever.”
Some people who would say that they practice majick would not necessarily like the world ‘occult’ which tends to have a darker connotation. It really just means esoteric, behind the scenes, or secret-not necessarily in the sense of a secret society but in the sense that it’s not the obvious level of reality. It’s the hidden level of reality. Astrology, for example, is an aspect of the occult that is as powerful today as it’s ever been. There are aspects of yoga mysticism that are very occult. When you start imagining different chakras and different rays of light, taking these lights and energies into your body and intoning majickal formulas, mantras . . . all those, though not from the West, partake of the basic ideas of the occult: that you can use your imagination, you can use desire, that you can use energy and the body in order to create different kinds of energies and even transform yourself and to some degree (and some people believe to a great degree) transform the world.
This series of conversations is on the topic called the 8 Circuit Brain model. It is something that Timothy Leary first brought into the western consciousness, and later Robert Anton Wilson in his book Prometheus Rising gave it a more wide spread appeal. It was further developed by Antero in his book ‘Angel Tech’
This conversation covers the following topics:
History and introduction to the 8-circuit brain model
Absorb, Integrate, Transmit: Intelligence Increase
Embracing humility, flaws & paradox on the human journey
Circuit 1: Bio-Survival intelligence
Circuit 2: Emotional-Territorial intelligence
Direct experience
Meeting the needs of the second circuit
To learn more about the 8 circuit model from Antero himself, be at Esozone
And don’t forget, you can see Antero’s new film Invisible Forest:
Thursday June 5, 9pm: DIVA Center, Eugene OR $5.
Friday June 6, 9:30pm: Hollywood Theatre, Portland OR $6.50
Sunday June 15, 2pm: NW Film Forum, Seattle WA. $8.
Wed. June 18, 8:30pm: Pickford Cinema, Bellingham WA $7.50
Friday June 27, 7pm: Shiny Object, West Sacramento. $5.
Here’s Erik Davis’s review of Invisible Forest:
Like a lot of heads, I first encountered the Finish wizard Antero Alli through his playful, prophetic, and handy books. If you are looking for a real-deal reality programming manual with just the right amount of Discordian spice, you can hardly do better than his classic debut, AngelTech. […] I’ve seen most of Alli’s movies, and they keep getting better. The Invisible Forest, Alli’s latest, is the strongest yet,
