Interviews & Reviews Archives

LINDSAY LERMAN on film with Rebecca Gransden

February 8, 2022 · Interviews & Reviews

What films first felt transgressive to you? Do you remember being secretive about any films you watched growing up?

I saw Liquid Sky in high school, and although much of it was mostly just weird to me because of how young and clueless I was, the amazing blacklight monologue scene and its “cunt that kills” focus (and its 80s underground punk aesthetic in general) seemed transgressive to me in ways that were thrilling and subtle. Also, the first person I fell really, really in love with was older than me and loved Prince. Because of this person, Purple Rain was the sexiest thing I’d ever seen, and to teenaged me there was something especially intriguing and powerful and mysterious in Prince’s approach to sex and sexuality, like it lived in some dark and sacred erotic realm.

Are there any films that define your formative years?

Bertolucci’s Stealing Beauty got in deep, though I was pretty young when it came out and I was definitely younger than Liv Tyler’s protagonist. I think I was stunned to see a young woman on film who seemed complex and smart, quiet and searching. Up until then, I believe I had never, ever seen a girl or a woman on screen who might have a rich inner life.

Do you use film as a prompt or direct motivation for your writing?

I don’t. I generally don’t use any writing prompts. I write when I can, or when I need to, but I can’t make writing happen when it’s not happening (if that makes sense), and I also can’t treat writing as a job. I don’t clock in or log word counts. I’ve absolutely been inspired by film, though!

Thinking about the places you’ve lived, are there any environments that are cinematic? Have you lived anywhere that has been regularly depicted onscreen? If so, has this had an influence on your perception of the place, or how you’ve depicted it in any of your writings?

I think every place is a cinematic place in the right hands, but I spent many of my formative years wandering around the Sonoran desert and the pine forests in the high desert, so to me there is almost nowhere as cinematic. I think it’s the stark quality of life there — how everything that’s survived is almost exceptionally tough and wily. When I was writing I’m From Nowhere, I was lucky enough to live in the desert for a few years again, and since the book is set there, I found myself constructing the setting in a more cinematic way than I had planned to. The openness and the spaciousness and emptiness of the landscape made their way into even the structure of the story.

Are there films you regularly return to, and do you know why?

The past few years, I’ve rewatched a handful of films with some regularity. Peter Greenaway’s The Cook, The Thief, His Wife and Her Lover, Jane Campion’s Bright Star, Alejandro Jodorowsky’s Endless Poetry, Milos Forman’s Amadeus, Barry Jenkins’s Moonlight, and Claire Denis’s High Life. I’ve rewatched each of these for different reasons, but I’ve done so because it’s felt necessary to study them.

Do you have any lines of film dialogue you regularly use in your daily life?

I catch myself saying “Fuck it dude, let’s go bowling” a lot. I’ve probably watched The Big Lebowski more than any other movie. I used to put it on in the background when I’d come home late, though to be honest, I really can’t remember why that movie and not some other.

Are there individual scenes that stay with you?

So many scenes. The slow motion shots of Maggie Cheung’s arms and shoulders and neck in Wong Kar-wai’s In the Mood for Love; Béatrice Dalle smearing herself with blood in Claire Denis’s Trouble Every Day; Adele Haenel crying in the final scene of Céline Sciamma’s Portrait of a Lady on Fire; little Mai climbing on top of Totoro and taming him in Miyazaki’s My Neighbor Totoro; the scenes in Liz Garbus’s What Happened, Miss Simone when Simone turns her electric and gloriously intense stare on her audience, interrogating everyone with her presence. It’s intensity and tenderness that stay with me longest, I think.

What films have roused a visceral reaction in you?

The answer to this has changed over the years, but since the birth of my daughter, I really can’t watch anything that features kids in peril. And it’s not just because I think “oh no, what if that were my child?” — it’s because when I hear babies or young children cry, I feel alarms going off inside me and I feel a strong physical compulsion to comfort and hold and soothe. In general I’m fascinated by how caring intensely for other vulnerable beings rewires entire dimensions of us — it’s definitely not just parenthood per se that does this.

Are there films that are reliable for inspiring your creativity?

I wish! There is almost nothing that’s really reliable for inspiring my creativity. It changes from book to book, phase of my life to phase of my life, obsession to obsession.

Which of your writings would adapt most successfully to film?

I am currently working on a screenplay. I’m adapting a short story I wrote, and it’s a really fun and intimidating challenge. I don’t know what will come of it yet, but I’m enjoying the entire process. (So far, ha.)

Crow Jonah Norlander

TEX GRESHAM on film with Rebecca Gransden

January 25, 2022 · Interviews & Reviews

What film, or films, made the first deep impression on you?

This might come as a shock, but I think watching E.T. as a kid rewired my brain, changed my DNA, shaped my life's path. I would rewind the ending over and over and just bawl my eyes out as the ship made a rainbow across the sky. I wasn't just sad—it was joy as well. And I didn't understand how I could have two feelings at the same time, and how this movie could do that to me.

Very often film is one of the ways we first come into contact with a world outside that of our direct experience. Which films introduced you to areas of life away from the familiar circumstances you grew up in?

I remember my dad showing me Sling Blade when it first came out. I was like ten or so. But it blew my mind. Wasn't until I rewatched it earlier this year that I realized how much that movie affected me and shaped my human understanding. I'd never seen life like that, but it felt so familiar to where I grew up.

What films first felt transgressive to you? Do you remember being secretive about any films you watched growing up?

Gummo was one of the first films that felt really transgressive to me. I grew up watching movies like Freaked (1993), Stay Tuned (1992), UHF, Robin Hood: Men In Tights, etc.—which are commercial, but they're weird as hell and therefore transgressive to a young mind. It wasn't until high school that I got into Korine, Waters, Troma Films, Oldboy, Freddy Got Fingered… things like that. I was very much into cinema trash when I was in high school.

In terms of being secretive about watching films growing up, I never really felt the need to be secretive because my family was very much into watching movies. I was pretty much allowed to watch anything—when I could. My dad introduced me to John Waters.

Are there any films that define your formative years?

Terminator 2, Bill and Ted's Bogus Journey, the Indiana Jones series, The Blob, Tremors, Jurassic Park. I grew up with the big blockbusters and those definitely shaped my love of entertainment and film.

Can you talk about the influence film has had on your writing?

All my writing I see as scenes—the shots, people acting them out, the pacing. Without films, I don't think I could write. I see a story as a cinematic arc that ends unfinished. I try to have the same plot-based conceit of a film, but then make it less about the plot and more about the people shackled to the plot. I feel like I've noticed this in Don DeLillo's writing—a huge influence on me. He is cinematically driven and often shapes his novels around a plot conceit and then completely ignores that plot. I dunno... Maybe I'm just describing writing in general hahaha

Do you use film as a prompt or direct motivation for your writing?

Both. Sometimes I take scenes/ideas from movies and expand or adapt. Sometimes I put movies on and just let it play in the background and let the sounds and rhythms of the movie make waves in my brain.

What directors, film movements, or particular actors have been an influence?

Paul Thomas Anderson is easily my biggest influence. The Safdie Brothers a close second. Harmony Korine a not-so-far third. But they all present characters and situations—albiet in different constructions—that I think people aren't used to seeing. They gently force us to acknowledge existences we tend to shy away from in productive ways.

Have you ever made a film? If so, has the process of doing that had an influence on your writing?

I've made numerous short films—never a feature. I've only scripted maybe one of those shorts. It used to be spontaneous, improv, random things that were cobbled together in the edit. This ended up being how I write too—allow for spontaneity and then adapt it in the edit. Make it work, because if my mind wants me to do it, then there's clearly something I need to explore.

I, of course, have a micro-budget feature I'd love to film/direct—a nasty little one-location thing about a guy at a party where no one thinks he's funny and all he wants to do is make one person laugh. Awkward, anxiety-inducing nightmare kind of movie. I'd do it tomorrow if I had the money and people.

Are there films you associate with a particular time in your life, or a specific writing project?

I watched Being There and Pee Wee's Big Adventure a lot while writing my screenplay, Fix Daddy. Inherent Vice and Gilliam's Brazil were on repeat while I wrote Sunflower. Paul Thomas Anderson films got me through a pretty bad emotional breakdown I had in my mid/late-twenties. I like to put on 90s action films while editing because they put me in a good mood and who the hell likes editing things?

California is infinitely cinematic. I used to work at a golf course and watch the sunrise every morning and that felt cinematic beyond anything. But I've never felt that anywhere I lived has been regularly depicted. I like to see places as anti-cinematic and show that aspect. Taking a place like Disneyland—constructed to be a magically cinematic place—and making it not at all like itself. More claustrophobic and grimey and unglamourous. Taking Hollywood and stripping it of the domestic tourism aspects. I probably answered this question totally wrong... Sorry.

Are there films you regularly return to, and do you know why?

Speed is something I rewatch pretty regularly—because it's probably the greatest action movie of all time (tied with Die Hard with a Vengeance). Unforgiven, because it's such a weird western. I've been watching Once Upon A Time In Hollywood a lot lately. I watch the Lone Wolf & Cub film series way too much. Frances Ha always puts me in a good mood. Saving Private Ryan is my most shameful guilty pleasure. I'm embarrassed to share it here, but... Oh well.

Do you have any lines of film dialogue you regularly use in your daily life?

I saw a lot of random lines from the documentary American Movie—things either Mark Borchardt or Uncle Bill says. "I don't have any dreams anymore" and "That's senseless."

Are there individual scenes that stay with you?

The "No Blinking/Processing" scene from The Master. One might say it's...masterful... sorry. The "give him the gun" jail scene in Unforgiven. The opening meta-scene of La Ronde is absolutely beautiful. But ask me this tomorrow and it'll change. My mind always runs through scenes I love nearly constantly—and there's a lot.

What films have roused a visceral reaction in you?

Uncut Gems—that was the last movie I saw in theaters. I never make audible noises in theaters, but so many times during that movie I found myself saying shit and oh god and stuff like that. And the ending had me jaw-dropped silent and I sat that way until the credits ended. A few other films are: Good Time, Umberto D., Naked Lunch, Kiarostami's Close-Up, Saint Maud (2019), The Killing of a Chinese Bookie, and The Tree of Life. I'm having more visceral reactions to films as I get older. I cry a lot more now and I really enjoy it.

Are there films that are reliable for inspiring your creativity?

Gummo (yes, again), Magnolia, A Scanner Darkly, Birdman, Adaptation—and the list goes on and on. But those are some main ones.

Which of your writings would adapt most successfully to film?

Either my forthcoming novel Sunflower or a couple of short stories—“Lovebird,” “Violent Candy,” and “Hollywood & Vine.” Apart from “Lovebird” which is published at X-R-A-Y, all of these are unreleased and will be in my collection from Tolsun Books in 2023.

Can you give some film recommendations for those who have liked your writing?

Herzog's Stroszek is a masterpiece. Then there's The King of Marvin Gardens (1972), Safe (1995), He Got Game (1998), Buzzard (2014), Tangerine (2015), Possessor (2020), Eastern Promises (2007), Fallen Angels (1995), Network (1976), Zola (2021), Hard Eight (1996)—and have I mentioned Gummo?

Crow Jonah Norlander

ROBERT KLOSS on film with Rebecca Gransden

January 11, 2022 · Interviews & Reviews

Can you talk about the influence film has had on your writing?

A lot of my writing is me trying to translate aspects of film to my work. Various shots, sounds, atmosphere. Using film as a basis, rather than say using reality as a basis, or other books as a basis, means starting with another artist’s aestheticized version of the world. What I see in my mind when writing then is framed, lighted, shot, so on, like certain scenes or moments from films I admire. Then I try to translate it. The silences, black and white faces, gusting wind of Antonioni or Kurosawa, for instance.

The impossibility of it is sometimes frustrating, almost painfully so. But the impossibility of it is also why I allow myself to do it—the failed translation allows it become something closer to my own.

What directors, film movements, or particular actors have been an influence?

Filmmakers who are particularly good at sliding between reality and dream have shaped my writing: Wong Kar-wai, Carl TH Dreyer, Ingmar Bergman, David Lynch, Apichatpong Weerasethakul, Andrei Tarkovsky, Werner Herzog, Paul Thomas Anderson. There are others I’m leaving out, but those have been the big ones over the years.

Are there films that are reliable for inspiring your creativity?

I don’t think so. I wish I could count on tapping into something whenever I need a burst. But I need things to happen more organically, more surprisingly. I can’t impose upon a film in that way or impose upon my process in that way. It has to emerge.

Have you ever made a film? If so, has the process of doing that had an influence on your writing?

I have not. For a long while I wanted to, really wanted to, because film seemed to embody more closely what I wanted to achieve in writing. At one time I think I could have done it. My brain now works so differently than it used to. I’m not sure if it’s aging or what. It takes me so long to muddle through. Things don’t occur to me like they used to. I can’t see them as clearly. It takes me so long to get anywhere. I have to fail, fail, fail, fail before something takes hold. There’s no vision, no certainty, no direction.

Can you give some film recommendations for those who have liked your writing?

I’ll give a list of some films that I admire that I haven’t mentioned. Mostly recent favorites. Most anything else by these directors would work as well.

Zama (Martel), High Life (Denis), Personal Shopper (Assayas), Decasia (Morrison), The Wolf House (Leon and Cocina), Horse Money (Costa), The White Ribbon (Haneke), The Favourite (Lanthimos), The Lighthouse (Eggers)

Crow Jonah Norlander

SCHOOL OF HARD KNOX: A Conversation with DuVay Knox by Charlene Elsby

December 30, 2021 · Interviews & Reviews

DuVay Knox is the author of Soul Collector (Creative Onion, 2021) and The Pussy Detective (Clash Books, forthcoming 2022). In his author bio, he writes, “I cum outta The South, by way of Louisiana and Tennessee… RUMOR has it I was born from The last Nut in My Daddys Sack. And came into this world when HE came. Needless to say/My Birth was Traumatic. Thus, I arrived here with an Attitude. The Doctor Slapped Me and I slapped Him Back. And So my Journey began. To Find Myself.”

I received an advance copy of The Pussy Detective from Clash Books. Within the pages upon pages of unabashed pussy appreciation, I found a portrait of a man devoted to mitigating the damage done to people by other people (and the desperation of those who would turn to such a stranger, when it seems all hope is lost.)

This interview was conducted as an email exchange in December 2021.

Charlene Elsby: Mr. Knox, your publications to date include Soul Collector and The Pussy Detective. Now it might be reductive to say your topics are sex and death, but the themes are definitely there. What I'm wondering about is the spiritual aspect, as it seems that within your work, sex and death are both conduits to a kind of beyond. Is there another realm behind our material world, and how and when can we access that?

DuVay Knox: Deep Q. Butt yeah DEATH is sho nuff another REALM. And when it cums to SEX the FRENCH say, in particular, dat The ORGASM is LE PETIT MORT aka The LITTLE DEATH. Having been a SEX ESCORT in Europe, among otha countries, Sex continues to play a part in mah Books. Especially the TRAUMA dat often accompanies COPULATION as part of a RELATIONSHIP dat SOURS—Or as a result of ABUSE. Meanwhile, much of mah life was like growing up in a WAR ZONE where I lost many of mah FRIENDS & RELATIVES To DEATH. And they were always wondering WHY? Why were these peeple TAKEN frum them? So much of mah WRITING is a NOVELISTIC attempt to address this issue.

CE: Deep answer. That was actually something I was planning to ask you about—that when I read The Pussy Detective, I was surprised to find the voice was so empathetic. I don't think it would spoil the book to talk about the reason the narrator gives for why women seek out the skills of the narrator. (Their pussy lost its magic on account of some bad man). It seems to me like you've had some really influential women in your life. Now that I'm thinking about it, I don't recall a single other male character with whom your character carries on a conversation, or who factors into the story significantly—not counting that fuck Greasy, of course. It's almost like you've got a source on women's psychology on the inside. Care to comment?

DK: Hmmmm. Had a good relationship wit mah Mama. Plus, I was married for 25-plus years (not all good....butt STILL we hung in there and did what we had to do). Then too: I slung dick as an escort for a number of years round Europe as a young man in the AIR FORCE. So I have spent many nites jes LISTENING to women. So much of the PUSSY DETECTIVE was based on THOSE S/experiences: what they talked about in regards to men folk. Imma good listener (so I have been tole).

CE: I have some quotations underlined, just because they remind me of various things I've read in philosophy. There's this mention of the pineal gland, which Descartes said was the source of thoughts, and which you identify as connected to the clitoris (which is the gateway to a woman's subconsciousness). Then there's a "SACRED HYSTERIA no womayne shood ever Sexperience--UNLESS she is giving dat thang up to the RITE muthafucka." And the idea that "KARMA Is Also a SEXUALLY TRANSMITTED DISEASE." You talk about majick, demons and gods. It looks to me like you've got a consistent and coherent spirituality that informs the whole theory of the book--and the ritual that Reverend Daddy Hoodoo conducts on Abysinnia. Are these beliefs to live by, or just part of a fiction?

DK: Years ago, back in the late 70s, when I started studying the CLITORIS (cuz I wanted 2 B thoro when it came to fucking) I came across the info bout the CLIT being konnected to the PINEAL GLAND it cumpletely changed how I viewed SEX and WOMMIN. And especially DESCARTES along wit NIETZCHE/OSHO & PASCAL BEVERY RANDOLPH informed mah SEXUAL PHILOSOPHY. For example, Nietzsche stressed the importance of FRIENDSHIP over LOVE. Dat made an impression. The NAZIS really took his shit outta context. And OSHO was the guru of FREE LOVE "butt" always noted dat it had responsibilities. That led one day to mee writing the quote: KARMA KAN BE A SEXUALLY TRANSMITTED DISEASE dat I explain in da book.

Add all this 2 da fack dat I grew up in da Life of HOODOO (New Orleans/Mississippi) and SEX MAJICK/DEMONS & GODS of the REALMS where destined 2 B a part of mah life. So yes I LIVE BY THIS (and THESE) thangs. They R not jes lip service. I view SEX as a GATEWAY to HIGHER REALMS via RITUAL (wich is how I was taught to view it). So yes: I draw frum these aspecks 2 pull them into mah FICTION.

CE: I did a quick search through the digital copy of The Pussy Detective and found that you use the word "pussy" 113 times, but you also use "puss eye" 17 times. I think I understand these two concepts, but for those who haven't read the book yet, could you explain what the difference is?

DK: PUSS EYE was jes mah DADDY'S funny name to take da Sting outta dat werd. Southern slang if u will. So dat was kinda an honorarium to him.

CE: So you've been around a while—on the planet, I mean. But you've just started publishing. I want to know how that happened. There's a hint in your Pussy Detective dedication that there are two women who "never let me forget that I could write something folks would wanna read if I really put my mind to it." In your previous life, were you not writing (or not writing something folks would want to read)?

DK: Yeah-i been round da block a lil skeet taste. I wasn't publishing tho cuz I was bizzy writing as a freelance journalist for many of the Top Hiphop-Rap publications in the country/copywriting for ad agencies and doing standup comedy (werking wit a lotta Names in dat world including DAVE CHAPPELLE, CHRIS ROCK, BILL HICKS, NORM MACDONALD, DANA CARVEY and many others .... even almost had a job writing jokes for the CONAN O'BRIEN show). Butt I left standup comedy cuz dat particular hollywood industry is such a beast & slimy.

I Slowly came to da thought of a writing a book after countless peeps telling me I should do it. A lotta dat encouragement came frum SLAM POETRY contests I useta compete in. AND da 2 women dat I hint at. Im kinda a Polygamist and have 2 Ladies in mah life hoo have been krucial and kritikal to mah success. Their motivation is what ultimately pushed me to git da books outta me and onto da page. In fack: MADAME X is based on one of them.

CE: How did you become acquainted with Marjorie Steele over at Creative Onion (who published Soul Collector) and then with Clash Books?

DK: Meanwile-I met MARJORIE STEELE when I was writing on MEDIUM round 2016-17. I was using da platform to write JOKES and SATIRE as well as SHORT STORIES and she took a liking to mah flow. She was one of mah most devoted followers. Later she tole me she was working on heading up her own PUBLISHING COMPANY and wanted to git mah shit out to the world. Tole her I was IN. She kept her werd. And on top of dat she is just damn good peeple. And GOOD PEEPLE in this Industry (let alone the werld) are hard 2 find. I will always be thankful 2 her for giving me a chance. Because where others were scared of mah RAWNESS she allowed me 2 B Unfiltered (which is the basis of mah Standup: rude/raw/offensive). She has never been afraid of mah FOUL MOUTH ways (profanity is mah 2nd Language).

CE: In the Soul Collector, the narrator collects souls, while in The Pussy Detective, the narrator finds lost pussies. I can picture both your books being episodic, i.e., they're both open to being serialized. Are you working on a sequel? (If so, can you give us any hints?)

DK: True dat. I wrote dem EPISODICALLY. Especially da SOUL COLLECTOR. I like mah TV/Movies da same way. I tend 2 think VISUALLY in da vein of COMICBOOKS when I write. I like dat old skool CLIFFHANGERS stile of writing/serialized shit (ala DICKENS). So yeah--im werking on SEQUELS for both books. Maybe simply The SOUL COLLECTOR #2 and/or the PUSSY DETECTIVE RIDES AGAIN (since he was always in his car going 2 rescue PUSS EYE).

CE: Finally, maybe you could tell me a little bit about Black Pulp Fiction Publishing House. What's your intention with that venture? What can we expect in the near future?

DK: BLACK PULP FICTION PUBLISHING HOUSE is jes mah attempt to resurrect a form/stile of writing dat deserves mo respeck than it has gotten. I think mah writing falls sumwhere between (altho inspired by) ICEBERG SLIM and GEORGE JACKSON wit nods to ZORA NEALE HURSTON & GAYL JONES (4 peeple hoo influenced mah own flow).

Im also concentrating on re-introducing the koncept of short novels (novelettes) as I think peeps are tired of LONG ass novels. I know i hate books that mo than 200 pages (maybe dats mah ADHD). To dat end books Im writing/publishing will fall into the old skool POCKETBOOK size of 4x6 or 4x7 and not over 150 pages. Having been in advertising I think psychologically peeps are subjeck to buying a book they kan simply putt in their pocket/purse. It gives dem the feeling dat writing wont be a chore. The age of the DOORSTOPPER book is over. Meanwile: JAMES PATTERON is alretty on this trend wit his BOOKSHOTS series. A lotta of those books are 100 pages or Less. And Im heah 4 it.

Crow Jonah Norlander

SEAN KILPATRICK on film with Rebecca Gransden

December 28, 2021 · Interviews & Reviews

What film, or films, made a deep impression on you as a youth? Which films felt transgressive back then? Were you secretive about watching them? Would you say any of these films defined your formative years? Can you talk about the influence film has had on your writing?By some superannuated lapse in parental bargaining, a ten-year-old-me was allowed to view Reservoir Dogs and Menace II Society. Using an online source, I’d already printed both scripts on half-pages with a nineties printer. One particularly sadistic week of basketball camp and I felt nowhere ingratiated with the world outside my VHS player. To compound the problem, I’d recently learned how to jizz. Expanding one’s taste from that list of homages, the influences of these influences (beholding From Dusk Till Dawn in a theater) cemented the era. Gnostic steroid demon gunmen flipping through stylized ballets (John Woo) and iconic machine slashers endlessly stalking girls were refined into the grunge of Henry Portrait of a Serial Killer and Confessions of a Serial Killer back to back. Strange Days was social commentary (though this film, of course, is something hard to process nowadays: far beyond message, style over message) and SFW philosophy. Midnight Express and Little Odessa ripped people’s tongues out, showing how process should commence. Love and a 45, Judgement Night, and Coldblooded proved the influence of influenced influencers could also influence (particularly Leary’s performance). In one glorious, preadolescent swill, I downed local hero Sam Raimi’s Evil Dead trilogy, Bava’s Demons, Van Bebber’s Deadbeat at Dawn, and Giovinazzo’s Combat Shock, retro sleaze masterpieces, and continued slurping Welles’s beautifully manic take on The Trial, and the cold brutality of Haneke’s Funny Games, funk atop craft.Very often film is one of the ways we first come into contact with a world outside that of our direct experience. Which films introduced you to areas of life away from the familiar circumstances you grew up in?The industrial ghettoes that sparked David Lynch’s genius were a relatable surrounding, but how far he took that inspiration into a separate creative world felt integral. Richard Linklater is the complete opposite of my purview, but is undeniably iconic and inspiring, especially back when. The international canon filled in the rest of the planet with all I cared to view of it. Finding Angel Dust at Blockbuster, the work of Tarkovsky, the exciting, riveting Kurosawa, (a hell of a snow day home from school watching) The Dollars Trilogy and the exhilarating The Young Poisoner’s Handbook, the claustrophobic Polanski classics, and for tropical tourism: Cannibal Holocaust and Make Them Die Slowly. The Forbidden Zone in place of fables.Do you use film as a prompt or direct motivation for your writing? What directors, film movements, or particular actors have been an influence? Have you ever made a film?I saw the two best meta cinema on cinema masterworks of the nineties quite young: Living in Oblivion and In the Soup (seconded by Contempt and Day for Night). I decided to pursue script writing and attended this cheap workshop downtown Detroit ran by a minor production assistant from one Spike Lee film. He wrote the word “weak” on my teenage script, which I appreciate, but he followed that up with zero useful advice. Though his spit on the page was perhaps relevant preparation for writing (had had that before, and daily now — my own), he’d have done better taking a shotgun to my lap in that regard. All of Kinski (chiefly what Herzog unlocked), Terrence Stamp in Fellini’s Toby Dammit, alongside the end of Imamura’s The Pornographers — actors going sublime and achieving a moment beyond presence. Lately, what Mickey Reece and Joel Potrykus manage to wrought against these artless times almost lets me experience optimism. I tried, and meagerly try, to make films, the hardest undertaking of an art form possible.Are there films you associate with a particular time in your life, or a specific writing project?Detroit is shit for art. But once there was an abandoned grade school in the Cass Corridor, pre-gentrification, called The Burton Theater: matinees amid the ruin, shock art projects decorating (everyone hates those now), plastic bags spider-webbed throughout the building, attached to a urinal handle so that the whole building shivered like an entity when you flushed). I saw Trash Humpers, a cut of Häxan (I’d only dug the Burroughs version) with accompaniment by the band Wolf Eyes in an auditorium sans air conditioning — seeing the screen through a heat haze mirage. Crispin Glover came and presented his wild films, standing stock still in a tiny destroyed closet between showings, addressing each fan in one on one sessions (I stammered with unexpected fear through mine, not realizing he’d deign an individual conference with everyone). Right about then, just as I saved up to join (what was, to me, a very pricey inner-sanctum membership), the yuppie boomer landlord (who gleefully rode atop toy trains) evicted the programmers and took over, switching the schedule to tripe such as Love, Actually during Christmastime. A local source of inspiration appropriately cut short at its height.Thinking about the places you’ve lived, are there any environments that are cinematic? Have you lived anywhere that has been regularly depicted onscreen? If so, has this had an influence on your perception of the place, or how you’ve depicted it in any of your writings?Jarmusch’s longshot landscapes met with People Under the Stairs and Fresh, Tetsuo: Iron Man and all the blasted hellscapes of Mad Max wannabes make me homesick. My old car is briefly featured in 8 Mile, sorry to say. Leaving Las Vegas evokes hopeless alcoholic dads punching the wall next to our child heads. But writers are supposed to be overly erect about the working class because utilitarianism is this country’s shiniest lie. (Many of today’s unintentional autogynephiles (re: all millennial men) could use some physical abuse, I admit.)Are there films you regularly return to, and do you know why?There is a type of film enjoyed on first viewing, but you brushed by it without dwelling, only to realize later the level of supreme art that went momentarily underappreciated. I often return to Kill List in awe, Kontroll (saw when released, holds up amazingly), Miracle Mile (describe this film to someone beat for beat, almost as mesmerizing as watching it), Branded to Kill (flawless, beautiful), and especially The Texas Chainsaw Massacre, which I saw young enough to relish, to be broken further into film by, in fact, yet it took seeing it on a big screen, and many, many wonderful times over (it truly gets better with each viewing, grows in you) to comprehend the insane confluence of intensity captured on camera (dinner scene, etc.). Do you have any lines of film dialogue you regularly use in your daily life? Are there individual scenes that stay with you?The Coen brothers demand reenactment. I feel ran over deep into the beach like in Mike Hodge’s Pulp. I perform How to Get Ahead in Advertising aloud each night. I am nearly always issuing coffin mumbles from the end of The Vanishing. The depraved eighties overkill set pieces in An American Werewolf in London, Invasion USA, and Action Jackson are my manifesto.What films have roused a visceral reaction in you?The rowdy turns in The Caller had at me. Attack the Gas Station rallies the viewer. Pretty Persuasion and Dirty Pictures predicting the cultural future are eloquent. Alan Clarke and his influence on The War Zone and Nil by Mouth, Henry Becque-esque reality cruelty gets my goat. The expansive The Telephone Box shit my shit out, the bottleneck tightness of The Guilty as well. Wake in Fright is ultra real, the film of our age, a millennial sludge trap ouroboros. Killing the nude woman with pop guns in Munich seems far more perverse than the filmmaker knew, a demonic scene. Rec 2 is the most vicious roller coaster jump scare experience I’ve had in a theater. Putney Swope is the foremost American comedy. Green Knight had me viscerally verklempt about how much potential it wasted. People at the theater were pulling their seats up in a rage, screeching far scarier noises than this weak millennial take on the legend could muster (I sense the director, so technically gifted, has never been hurt, one notch too abstract, but close, Black Death did the heavy montage literary ending better). The Grey is a more classic, but far greater disguised genre thing really about accepting death. When The Grey pissed stupid people off, I agreed with it, not them. Are there films that are reliable for inspiring your creativity? When a genre subverts itself well: Universal Soldier: Day of Reckoning, a secret treat. Upgrade is the best action film comment on millennials. Seeing Riley Stearns’s work, and others like Resolution and Luz released in the last few years, is heartening. There will always be a Let’s Scare Jessica to Death, The Corndog Man, Baxter, Habit, Underground, La Haine, The Ugly, The Cell, Seven (films that had no business being so good), sneaking way above every decade’s typical crap (we gotta hunt for them harder now). Maxx, Aeon Flux, and Ren and Stimpy formed my first artistic sensibilities. I Never Left the White Room back to The Last House on Dead End Street (and Watkins’s nonsensical, hyper-retro art pornos), the bottomless, pointless sadism of The House on the Edge of the Park and Hitch-Hike — perfecto.Which of your writings would adapt most successfully to film?Marat / Sade would be the only path to trying. Nobody’s gonna build me a Deadwood set. All for naught and just about impossible. Can you give some film recommendations for those who have liked your writing?My genealogy could start with tracking down the legendary Salo at fourteen, then later seeing Possession after realizing relationships aren’t nice. Man Bites Dog was formative, along with The Hitcher (throat slit Eric Red’s gnostic demon killers: this, Cohen and Tate and Near Dark) and von Trier. Bertrand Blier’s early work was huge to me, and the pinku genre, including The Embryo Hunts in Secret. Miike’s dozen absurd masterpieces after high school, Angel Heart before. Peter Greenaway and the uncanny ending of Twentynine Palms, both ideal, but closer to scope of potential for me might be something approaching an Alan Resnick short, maybe The Signal (2007) if I got lottery lucky. The Eric Wareheim video for that Tobacco song is one of the best shorts I’ve seen (and the superb videos for Liars’s “Plaster Casts of Everything” (innovative rear projection), Rone’s “Bye Bye Macadam” (with its Joe Frank-esque electrical cult worship) Lorn’s “Acid Rain”, Jonathan Bree’s “You’re So Cool”, Oneohtrix Point Never’s “Sticky Drama” (demented Salute Your Shorts), Liam Lynch, the Feral House zeitgeist of Longmont Potion Castle and Francis E. Dec’s Worldwide Gangster Computer God, the abstruse oddities Charles Carroll is up to, glad that Sam Hyde prospers), ditto the simplistic, impeccable bit Cronenberg did (“they sense the threat”) for his book release (he should stick to film). Pig was a recent masterpiece of refinement, a classical tour de force that I’m incapable of, but appreciate (am a Vampire’s Kiss guy). I’d reach for the genius of Killing of a Sacred Deer, paced to Little Murders, cut like Chinese Roulette, Hal Hartley blocking, as ferine as Kite, Aster’s short C’est La Vie acted by the girls of a Walerian Borowczyk flick (trauma of Blind Beast, Lady in a Cage, Onibaba, or the sensuality of Survey Map of a Paradise Lost and In the Realm of the Senses), writing with a Sword of Doom ability to clear a room, but falling flat once Mifune challenges — most likely I’d end up with Trailer Town. I’m okay with that.

Crow Jonah Norlander

Whose Presence Joined With Ours Will Create Something Novel; A Review of Adam Soldofsky’s TELEPAPHONE by Evan Williams

December 23, 2021 · Interviews & Reviews

Take any version of the movie Freaky Friday. Now imagine it remade as a film noir. Now imagine it was written by Marshall McLuhan. Now imagine it isn’t afraid to lean into the philosophical implications a body swap has on the nature of selfhood. Congratulations, you’ve got Adam Soldofsky’s Telepaphone.

My first impulse upon reading the title was to rummage through my shelves for Mag Gabbert’s MINML POEMS, a book taking the torch of condensed wordplay from Aram Saroyan. The word “telepaphone” feels like it might fit in among Gabbert’s poems, sandwiched somewhere between “anammal” and “implocean.” While reading MINML POEMS I made a game of dissecting Gabbert’s pieces into their possible constitutive parts, beginning with the obvious combinations and extending outwards. What becomes clear in this practice is not only that the meaning of the poem can drastically change depending on its compositional permutation, but that the meaning of its individual components can be inflected in one direction or another by its partner(s); as one piece changes, so do the rest, so does the whole.

Motivational speaker Jim Rohn once argued that we are the average of the five people with whom we spend the most time. This idea supposes that our social surroundings construct us, though it elides, or, at minimum de-emphasizes our agency in the process. Our sense of self is not constructed for us, but by us, through and against those with whom we interact. Soldofsky approaches this idea, one of definition by inflection, and emphasizes not only the inflection itself, but its mode: the titular gadget, the telepaphone.

Described as “an amateur magician’s apparatus that, when worn by two individuals” might “facilitate telepathic communication,” the device is one that, on its face, allows for an intimate knowledge of another; it allows for a deeper, more genuine sort of inflective interaction.

The novella’s plot quickens when Adam Soldofsky—a failing-if-not-already-failed artist in a marriage brought to its deathbed by his alcoholism—and Axel Wilhite—an internationally-renowned artist with whom Adam attended art school—test the telepaphone. The machine’s instructions require the pair to sit facing with headsets “snug but unrestrictive,” set “about the crown of the head with the skull carapace sitting atop the head like a ballcap.” It’s worth noting that by this point in the book, the friendship between Adam and Axel is withering, if not spoiled. The meeting which has brought them to this moment was predicated upon Adam’s emotional decline, Axel visiting in the hopes of helping, or at least assessing its severity; the precipitant for the ensuing inflection of Axel on Adam, Adam on Axel, is one of imbalance. And, ultimately, a further imbalance is achieved: the telepaphone overshoots the mark, catapulting them past mere telepathy into a full blown body swap.

I won’t spoil the plot further but to say drama and dark hilarity ensues.

At the heart of any good body swap plot is the idea that having learned what another’s life is like, one walks away not only with greater appreciation for their own, but with an enlightened understanding of the daily hardship of their peer, and this is certainly true of Telepaphone. What is not common in the body swap genre, and what makes Soldofsky’s work so gripping conceptually and in its execution is its exploration of the leftover self, which borders on an assertion of an essential self.

What’s left of another person if your consciousness now resides within them? Their dreams, their muscle memory. Sporadically throughout the course of the story, Adam—in Axel’s body—falls asleep, launching into one of Axel’s dreams. When this happens, it’s not immediately clear in the text. Mostly, it is a seamless transition from Adam’s wakeful observations into his experience of Axel’s dreams, which he observes and comments upon as though he were outside of them. It’s in these moments that Telepaphone articulates most clearly the intimacy of a friendship—one brought on by despair, misfortune, and technological mishap. It’s tempting to argue that Soldofsky’s thesis is one aimed at touting the power of misery to bind.

It isn’t just a binding, however, just as sewing together the bits of two or more words into a single, condensed poem isn’t just a binding, it’s a generative act; the bits, linked together, allow for a new and surprising form to come forth.

As is established early on, Adam and Axel first found one another in art school, going on to achieve wildly different degrees of success. Adam painting in Adam’s body results in Adam’s work; Axel painting in Axel’s body results in Axel’s work; Adam painting in Axel’s body results in a fusion of taste, technique, and vision. It creates something not only wholly new, but something representative of the pair’s inflection of one another.

This is the point from which the potency of Soldofksy’s novella stems. Snared in the logistics of the body swap is the surface-level but often obscured fact that a body swap is fundamentally the creation of two new lives. Further, if we construct ourselves against those around us, then not only does the body swap afford its participants the opportunity to construct a renewed sense of self against their swap-ee, but, disembodied, they might form it against themselves as well. Intimacy brings forth new form. It’s this that Soldofsky both fears and celebrates, the harrowing trials it may involve, and the selfishness we must break past to give over our whole being to another.

I took it upon myself to dissect the word telepaphone as I dissected Gabbert’s poems. Yes, it is most likely that the word is simply a combination of telepathy and phone, evoking the sound of the word telephone as an added bonus. However, mirroring the definition of the self and the social network in which it operates, the book takes on new meaning as its constitutive parts change. Having spent far too much time considering the contributions of an assortment of possible words based on telepaphone’s syllabic makeup, and even testing out a few acronyms, I came finally to two alternative possibilities:

Telegenetic past phoneTeleological partner phone

I won’t decide between the two which is the right one, there is no wrong answer. If the first, Soldofsky has painted an elaborate portrait of our past—social, intellectual, emotional, etc—lives as being additives to not only our way of perceiving the world, but to our cellular composition. It is an articulation of the belief that that material is transmissible in a tangible fashion. If the second, then we need not worry. Body swap or not, there’s another we’re moving toward, another who will someday sit facing us, and whose presence joined with ours will create something novel.

Crow Jonah Norlander

B.R. YEAGER on film with Rebecca Gransden

December 14, 2021 · Interviews & Reviews

What film, or films, made the first deep impression on you?

The first films I truly loved were incredibly basic, because I was a kid. And I was a blockbuster kid. I was obsessed with Aliens, Terminator 2, Jurassic Park, etc. And I still love those movies, even though they’ve long been replaced as my favorites. But I think the biggest mark they left on me was a love of grandiose scope and spectacle. There’s plenty to critique about those films with regard to emotional or intellectual complexity, but in terms of presenting a spectacular, grandiose vision they’re pretty impeccable. So they’re still a big inspiration—I’m often trying to marry emotional complexity and realism to a grand, mythic scale.

What films first felt transgressive to you? Do you remember being secretive about any films you watched growing up?

I’m not sure about transgressive, but the first film I encountered where I realized I was watching something supremely different was probably Welcome to the Dollhouse, which I saw not too long after it came out. I think it triggered my initial understanding of independent film, that there was such a thing as independent film, and that independent film was substantially different from what I was used to seeing. I remember thinking why does it look like that? Both the film quality and the actors—why does everyone look so fucked up? (i.e. like real people). Like I said, at the time my favorite films were the big blockbusters, so this was incredibly jarring. I kind of reeled from it at first, but it was so well done, so well-written and funny, I warmed up to it, and it’s become one of my favorites since.

There’s this film that no one has heard of that was extremely formative for me, called Slaughter of the Innocents. I first saw it on TV, late at night, when I was nine or ten. I had seen commercials for it, and knew it was about child murder, and that fact alone was so upsetting to me, but also incredibly compelling. I couldn’t stop thinking about it. It felt so crazy that there was this film called Slaughter of the Innocents that revolved around child killing—I had to see what it was all about.

It centers on this FBI agent who specializes in child murders. But the twist is that he’s been training his eleven-year-old computer-whiz son to be a forensics investigator. So this eleven year old kid is helping his father solve these grisly child murders, and no one around him bats an eye—not his mother, not the other FBI agents, no one. It’s treated as though it’s the most normal thing in the world. So the whole thing feels like a goofy kids’ movie like The Goonies or Home Alone that’s been folded into this bleak film about child murder. It’s absolutely bonkers. But revisiting it now, I can see how that aspect spoke to me at such a young age. It had many of the trappings of what I loved as a child—these kid adventure movies—paired with this terrifying story that felt very real and immediate. This was 1993, so it was the tail end of the satanic panic, the height of stranger danger, and there are all these stories about child abduction and sexual abuse and murder on the news and on talk shows. Slaughter of the Innocents is full-on pulling from all these anxieties, and as a child it felt so real. Watching it now, it’s goofy and campy, but at the time it felt intensely relevant and powerful.

I’m also now able to appreciate it as an incredibly non-traditional first brush with dark and transgressive themes in art. Most people’s first exposure is something generally recognized as a classic—Silence of the Lambs or Twin Peaks or something like that. For me it was this bizarre D-list rip off of Silence of the Lambs and Twin Peaks. But unlike most D-list ‘90s films that no one has ever heard of, Slaughter of the Innocents still kind of slaps. The acting, writing and direction isn’t terrible. It has a beautiful and eerie vibe. The entire thing feels as though it exists within a world that’s ending but no one realizes it yet—and if there’s one through-line between all my books it’s my attempt at trying to capture that feeling. So despite its obscurity it had a pretty enormous impact.

Can you talk about the influence film has had on your writing?

I’m influenced by film in a fairly unique way. I’d love to know if this happens with anyone else. Essentially: I watch a lot of good stuff but I also watch a lot of garbage. Sometimes I just want sound and image in front of me, and I’m pretty easily entertained. And often I find so much inspiration in the dumbest shit. I’ll be watching something like Detective Pikachu, and there might be a little visual gag, or an offhand remark played as a joke—and I’ll think “What if we took that gag seriously, and played it out to its most logical conclusion?” That sometimes becomes the foundation for a scene, or a character, or an entire story.

Earlier this year when my wife and I were dealing with the side effects from our second vax dose, we threw on the Shrek movies. And no joke, a brief gag in Shrek 2 ended up inspiring the premise for my next novel. The novel will in no way read like something inspired by Shrek 2—it’s this quiet, mournful drama—but I’m almost completely certain that if I hadn’t been watching Shrek 2 I never would have gotten this idea.

I think the way this works is that “good” or “serious” films (however you want to qualify that) tend to be fully realized artistic visions. They’re already taking their premises seriously and playing them out to their most logical conclusions. At the same time, they’re also giving you less to build with. Like, there’s not really anything I would try to change or improve upon with something like The Piano Teacher. There could be structural elements I borrow from great art, but less so with regard to content.

But “bad” movies (or silly movies, or generally unserious movies, or lowest common denominator movies—however you want to define them) can be rich in unrealized potential. There are materials within that can be scavenged and improved upon and built into something radically different from how they were originally conceived and presented. I find that weed helps.

My friend John Trefry who runs Inside the Castle was talking about this too, that engaging with garbage forces you to bring more of yourself to the table in order to appreciate it than a classic piece of art does. It can require a more active engagement (again, weed helps). What you end up enjoying or being inspired by will inevitably be more personal, and have more to do with your own perspective rather than the creator’s.

What directors, film movements, or particular actors have been an influence?

I’m going to use John Carpenter not just because his films have had an enormous impact on me, but he also serves as a great counterexample to some stagnation I currently see within the horror genre. One thing that’s fascinating about Carpenter is that, ultimately, he wanted to make Westerns. But he didn’t have the necessary resources, so he adapted his vision into something completely new, while still holding onto that root inspiration. You can see traces of Westerns throughout his filmography, in the cinematic and narrative languages he uses, but you’d never mistake his work for John Ford’s. Most importantly, he didn’t just go and make a shoddy knock off of a John Ford film. He created something new.

Something I kind of loathe right now, specifically within the horror genre, is the overwhelming obsession with nostalgia. I see a lot of directors and writers content to ape what came before them. And I’m sure much of it is done out of genuine love (just as much of it is done as a cynical cash grab). But regardless of intention, strictly rehashing what came before leads only to stagnation. It signifies a misunderstanding of what made the films of the 70s/80s/90s/whenever special: they brought something new to the table, and reflected something about the time and culture in which they were created.

You can’t just photocopy magic and expect the outcome to be magical. You need to do something different with it; if not something new, then something personal and sincere, something beyond “I like this.” Like, I tried watching Fear Street 1994 and got maybe five minutes into it. “Oh, we’re doing Scream? We’re just going to do a bad version of Scream?” And I shut it off. I’m not interested in watching a bad version of something good that came before.

So John Carpenter’s filmography is just a persistent lesson in how you can take something old and beloved and transform it into something completely unrecognizable, yet equally as powerful.

Have you ever made a film? If so, has the process of doing that had an influence on your writing?

The past couple years I’ve been collaborating with this filmmaker Nick Verdi.

I acted in his short film Angel of the Night, and co-wrote his debut feature Cockazoid. It’s really forced me to learn how to develop and communicate my ideas in a quick and concise fashion—something I’ve never been good at. Writing obviously tends to be a solitary endeavor—you’re communicating your ideas to yourself in your head and on the page, and then you refine those ideas over an extended period of time until they’re ready for someone else to take a look. And this can take years. But filmmaking needs to be quick—especially run-and-gun, beg-borrow-steal no-budget filmmaking—so if you have an idea, you need to be able to communicate it efficiently. You can’t just wait for inspiration to come, because there's a schedule you need to adhere to. You really have to get in there and problem-solve and make shit work. So that’s been a welcome challenge. It’s forced me to learn how to refine my ideas faster.

I’ve lived in Western Massachusetts my entire life, and maybe it’s just a bias but I’ve always found the area (and New England in general) to be extremely evocative and cinematic. Funny enough, the newest season of Dexter was just shot here (including a diner that’s a two minute drive from my apartment). But yeah, I think part of it is the juxtaposition—vast woodlands and hills abutting rotting factories and strip malls. Cities built on the sides of mountains. There are these insanely wealthy towns with tiny hidden nooks where they keep all the low-income housing, far from sight. Also the architecture—some of the buildings here are hundreds of years old. Same with the cemeteries. The past and the future seem to be constantly scraping up against each other. It’s a dynamic, conflicted landscape.

Are there films you regularly return to, and do you know why?

Hands down my favorite film is Francis Ford Coppola’s Bram Stoker’s Dracula. And here everything collides: it’s a wholly unique blockbuster on a grand scale, with astounding vision and spectacle, and it’s also a little trashy. There’s really no universe where Keanu Reeves should be in this movie, but I love that performance; he fits the character better than people give him credit for. There are also parts in the later acts that kind of fall apart and make no sense, but it doesn’t really matter. It becomes part of the film's overall character. It’s gorgeous and dark and silly and bloody and horny, and there’s this powerful romantic emotion running beneath it all. The ending knocks the wind out of me, always.

I just admire the hell out of it. And it consciously represents an end of something. Coppola made it specifically because he foresaw that big-budget films that rely on elaborate costumes, sets, and practical (in-camera!) effects were on their way out. As a result, he pulled techniques from the entire history of filmmaking. It’s a culmination of the form. He believed this would be the last opportunity to make a film at this scale the traditional way. And he was right! You couldn’t make Bram Stoker’s Dracula today. And that’s terrible. What a loss.

Which of your writings would adapt most successfully to film?

I’m going to go the opposite direction and give one that I think is pretty much unfilmable: Amygdalatropolis. Content aside, the vast majority of it takes place on online imageboards, and I can’t really think of anything less cinematic than that. I know some filmmakers have done desktop films, but as far as I can tell those still primarily rely on webcam footage, and I’m honestly a bit skeptical of how much life the form has.

I’d be very curious to see how someone would interpret Negative Space. I have a very distinct vision in my head of what that would look like, but the nature of literature is that every reader creates their own vision from the text. You can never know what your story looks like inside another person’s head, so a film adaptation would be the closest you could come to actually observing that.

Can you give some film recommendations for those who have liked your writing?

River’s EdgeThe GateThe Doom GenerationBenny’s VideoKairo

Crow Jonah Norlander

JULIET ESCORIA on film with Rebecca Gransden

November 30, 2021 · Interviews & Reviews

What film, or films, made the first deep impression on you?

I remember watching Beetlejuice over and over as a kid. I got nightmares from things that kids aren’t supposed to get nightmares from, like The Care Bears movie, but for some reason this movie didn’t bother me? Explains my goth roots.

What films first felt transgressive to you? Do you remember being secretive about any films you watched growing up?

I wasn’t allowed to watch rated R movies for a long time (except my parents did let me watch The Shining and The Exorcist in junior high). When Pulp Fiction came out, a lot of the boys in my class—it was all boys—watched it and were talking about how cool it was and I was so jealous, Pulp Fiction seemed so cool and mature to me.

I also remember my parents having a recorded copy of Body Heat on VHS and I was under the impression that this was something they didn’t want me to know about because it was dirty.

Are there any films that define your formative years?

SLC Punk is a silly little movie but I have a lot of affection for it. The party scenes feel true-to-life, and when I was in my teens/early 20s it was really relatable to me. (Fun fact: writer Chiara Barzini appears in this movie.)

The Virgin Suicides made a big impact on me for a lot of reasons—its dreaminess, the images, the portrayal of teen girlhood, and the subject matter of suicide.

I saw Donnie Darko when I was around 20 and it kinda blew my mind. I remember being like Wow, movies can do this! and wanting to talk about it with my friends but I didn’t have any artsy friends at the time and nobody cared.

Do you use film as a prompt or direct motivation for your writing?

Not entirely, but at one point during the writing of Juliet the Maniac I got this strange idea that I needed to match it with the color palette of East of Eden? This doesn’t even make sense. I don’t think it even made sense to me at the time. I was feeling lost in the manuscript when this happened.

What directors, film movements, or particular actors have been an influence?

I want to use this question to talk about how much I love Riley Keough. I love Riley Keough! She’s amazing in everything I’ve seen her in. I love her voice. She’s hot. I have a big crush on her.

American Honey (with Riley Keough)—there are some scenes in Juliet the Maniac that take place in a van. I watched that movie and tried to get the van scenes to at least resemble the van scenes in American Honey. That movie got the milieu of “fucked up youths in a van for long periods” thing down perfectly.

Have you ever made a film? If so, has the process of doing that had an influence on your writing?

Yes, I made a bunch of short films directly related to my first two books. I don’t really think they had an influence—mostly I just found it exciting to work in a different medium. Writing is my favorite artistic medium and I find it to be the most… spiritual? in that you can directly inhabit another person’s mind and thoughts… but there are still limitations to it. There are certain things you can only do with film. It felt fun and freeing to be able to work with images and, especially, music. I’d like it if you could force people to listen to a soundtrack to your book.

Are there films you associate with a particular time in your life, or a specific writing project?

I watched Drugstore Cowboy about a hundred times when I was dating this junky who was very bad for me. (Referring to him as a junky seems harsh but also accurate.) He’s dead now. Bad memories.

Another dead boyfriend (different dead boyfriend) memory are the movies of Jim Jarmusch. I still don’t like Jim Jarmusch movies, excepting the zombie one. I liked the zombie one.

All three places where I’ve lived as an adult were cinematic. I grew up in Del Mar, CA, which is sandstone bluffs, blue ocean, bent Torrey pines, and that soft golden light that is distinctive to Southern California. The beach in front of the house where I grew up has always felt creepy to me, which I tried to portray in this movie and the corresponding story. It has a lagoon that gets misty and just looks vaguely ominous.

West Virginia, where I live now, is so beautiful that it feels aggressive. I regularly feel distracted while driving to work by the aggressively beautiful mountains and trees and rivers and sky. I have some stories in my new, not yet published collection that feature me writing about this aggressive beauty. It makes me kinda sad that movies set in WV are generally filmed in Georgia, rather than on location. I wish WV would get a decent airport and give out tax credits so they could be filmed here. Seems like a missed opportunity.

And New York, where I went to grad school… I think the way it’s depicted in movies, books, and music is a big reason why I wanted to go to school there in the first place. I’ve tried to not write about it too much because it’s been covered so many times, but I also didn’t want to shy away from it either. When I had a story that I really wanted to write that absolutely needed to be set in New York, I let it be set in New York.

Are there films you regularly return to, and do you know why?

I feel the need to watch Gangs of New York about once a year. I’m not even sure why. I guess because there are so many good characters, and it feels so ambitious in terms of scale. Goodfellas and Taxi Driver are other Scorsese movies I feel the need to watch fairly regularly.

The aforementioned The Virgin Suicides is another one. I’ve watched Once Upon a Time in Hollywood four times and could watch it again (fuck the haters for this movie, you all are losers). It’s pretty much a perfect movie, from the editing to the acting. I am also really into anything related to the women of the Manson family—not Charlie, he’s boring, but the women—and anything that could be described as California Noir.

Under the Silver Lake is another recent “California Noir”ish movie I could watch again.

And David Lynch movies, of course: Mulholland Drive, Blue Velvet, and Wild at Heart are movies I could watch over and over.

I loved Midsommar (again, fuck the haters, you’re boring) and feel like that movie was kinda made for me, with the imagery and the weird nature/pagan shit and the woman character getting the upper hand in the end.

I saw Ganja & Hess for the first and so far only time last year but it really hit me hard. Like the other movies, I think a lot of it has to do with imagery/general aesthetic.

What films have roused a visceral reaction in you?

Waves was the most recent one. It gave me a stomach ache, big time.

Can you give some film recommendations for those who have liked your writing?

All of the ones under the “films I regularly return to” section, plus Good Time, The Neon Demon, The Witch Who Came from the Sea, Ordet, The Virgin Spring, Through a Glass Darkly, The Hunger, American Honey, Thou Wast Mild and Lovely… I could go on but that’s a decent list.

This series has not much to do with my writing, but I want to recommend Small Axe. That series was amazing and it got less recognition than it deserved.

Crow Jonah Norlander

DERICK DUPRÉ on film with Rebecca Gransden

November 23, 2021 · Interviews & Reviews

What film, or films, made the first deep impression on you?

The first movie I bought that didn’t suck was Godard’s Breathless. I was eighteen and deeply into Joan of Arc and other stuff from the Kinsellaverse. I’d read somewhere that they were inspired by his work, so I thought I’d check him out. I went to a nearby Borders and browsed the racks. It was a crappy old edition where the special features were like, “Scene Access” and “Interactive Menus.” I loved it. Then I had the age 18-20 insufferably-into-Godard phase. I remember sort of bragging to my parents’ friends that I had a copy of Masculin-Féminin, and they were like, “What - why? Him? Really?” I get it now. But that was the jump off.

Can you talk about the influence film has had on your writing?

I’ve never written a treatment, nor a screenplay, but usually a first draft of something new will have a sort of treatmentary vibe. Just image after image w/ very little in the way of character or plot. The final draft tends to look like that, too.

Do you use film as a prompt or direct motivation for your writing?

Sometimes I’ll just write down notes on the thing I’m watching and maybe later transcribe them and alter them enough so they don’t completely resemble the source material. One thing I published a while back was just prompts for opening scenes of imaginary movies. I’ve thought about going back and expanding it, but that seems like a bit too much of Levé pastiche.

Have you ever made a film? If so, has the process of doing that had an influence on your writing?

I helped make a short film once. I just did the camera work but apparently I wasn’t bad. The film ended up in a gallery. If it had any influence on my writing, it would be that I quit altogether and start working on lo-fi art projects.

Are there films you associate with a particular time in your life, or a specific writing project

The first story I published was written during an intense period of Marx Brothers and spliffs. I’d been laid off from a state job, had a decent severance, and spent a month getting high and watching torrented movies. I’d never seen the earlier Marx Brothers stuff, so it seemed fresh, and it still is. I think some of that unpredictable humor comes through in the story. It also reminds me of a more productive era of writing, which I can look back on with a small fondness.

Any place can be cinematic if you know where to look, but the most superficially cinematic would probably be my current environment of southern Arizona. The rock formations, the wildlife, the historic buildings, the denizens, the many-layered hues of enchantment, etc. I lived in New Orleans for a while and there were always film crews everywhere due to Louisiana’s film tax credit, and to some filmmakers’ unfortunate penchant for ruin porn. I just watched Angel Heart the other day and felt briefly nostalgic for walking down Royal Street.

Are there individual scenes that stay with you?

I’ll return to certain scenes more often than I do whole movies, maybe because of dwindling attention span or general cognitive decline. The first processing session in The Master. The duel in The Life and Death of Colonel Blimp. The suicidal penguin in Encounters at the End of the World. The opening scene of Werckmeister Harmonies. Pretty much any scene from Beau Travail. The final scene of Wanda. The doctor’s house call in A Woman Under the Influence, and so on.

What films have roused a visceral reaction in you?

I remember becoming fully, inexplicably overwhelmed with emotion when I first watched Cries and Whispers, at perhaps too young an age, when the Chopin mazurka in A minor comes on. It was kind of like the episode of Seinfeld where Jerry finds himself crying and says, “What is this salty discharge?” But now I go hunting for that feeling.

Crow Jonah Norlander

MICHAEL SEYMOUR BLAKE on film with Rebecca Gransden

November 16, 2021 · Interviews & Reviews

What film, or films, made the first deep impression on you?

Hi. I’m overwhelmed with the amount of responses I have to almost all of these questions. I’m terrible with stuff like dates and technical details etc. and I forget important chunks of information all the time, only to blurt things out weeks later during a conversation with an unrelated person who is probably in the middle of talking about their day. In other words, I will forget to mention movies that live in my heart. I will forget super critical moments. I’m gonna answer this stuff with whatever randomly popped in my head at the time, mostly sticking to my younger years. In no particular order. Random. Incomplete.

Here we go...

An early favorite was 1967’s The Jungle Book (Wolfgang Reitherman). Thing is, I was super young so all I have is the vague impression of how important it was to me. I loved Baloo and wanted to be his best friend.

Next is something I respected and deeply feared, and that is 1987’s The Gate (Tibor Takács). I almost didn’t include it here because it was only years later when I realized how much of an impact it had on me. I remember seeing it at my braver-than-I-was friend's house for the first time and thinking it was “sickkk!” but also having to close my eyes a lot. I lost a lot of sleep because of this thing. As a kid I often felt isolated and terrified, and The Gate played on my fears of being left alone without knowing who to trust. It was my first major exposure to horror movies, which still fascinate me to this day. Much love for The Gate. “YOU’VE BEEN BAAAAAAAAAAD!”

The NeverEnding Story (1984, Wolfgang Petersen) — This movie disturbed and fascinated me in a different way than The Gate. Where The Gate felt more domestic in its horror, The NeverEnding Story haunted me in a more cosmic, existential way. It wasn’t until I was a little older that I could watch and appreciate it without my heart racing and my stomach going sour. Gmork is still one of the most frightening creatures ever. I associate this movie with being at my grandma’s house because I think I was there the first time I saw it.

The Last Dragon (1985, Michael Schultz). This may have been the first martial arts movie I ever saw. They used to play it all the time on tv and I was enthralled. I probably watched this whole thing conservatively forty times as a kid. This is also one of the movies I just assume everyone has seen and I’m usually surprised to meet someone who hasn’t even at least heard of it.

Teenage Mutant Ninja Turtles: The Movie (1990, Steve Barron). At the time it felt super edgy and dangerous. Gritty. But somehow it didn’t feel like an “adult” movie. I viewed it as a “cool older kid” movie. I was 7 or 8.

Turtles leveled up my appreciation for cinema. To this day it fills me with joy when I watch it. My favorite turtle was Mikey, but my favorite scene — the scene that blew my mind — was when April O'Neil was writing and sketching in her diary. It lent a gravitas to the whole experience. I remember listening to her voice, her tone solemn and serious, and just being enraptured. I thought “This is the real stuff!” I wished so much I was one of those turtles. I wanted someone like April to care about me enough to put it in her diary.

But as much as I loved it, I didn’t quite think about it in an adult way. I took its existence for granted.

Then a few years later I saw Mel Gibson’s 1995 epic, Braveheart.

Braveheart is the first movie I had what I’d call an “adult love” for. I wore those VHS tapes (yes, it was long enough for two tapes) out. Couldn’t get enough of it — the gruff aesthetic, the epic battles, the just-over-my-head political intrigue. Stephen (David O'Hara) was my favorite character. I was so stressed that he was gonna die during my first watch. I remember thinking “He’s like me!” (meaning a real weirdo). I loved his introductory line delivery of “Stephen is my name!” I believe this is also the first time I saw the main character in a movie die. Not positive on that. The ending always made me intensely depressed. Sometimes I’d just stop it while he was in the cell so I could pretend he got away.

Unlike the movies I loved before it, I thought of Braveheart as an impressive film rather than just some awesome thing that existed. I didn’t have the vocabulary to express it (hell, I still kinda don’t), but I was very aware of the cinematography, the acting, the dialogue, the music, the choreography of the fights. It was a revelation. Still, I never lost that magic of living within the world on the screen. Corny as it sounds, I still watch movies with that wide-eyed sense of wonder.

I could keep going… but let’s pull back for now. A ton of other movies are popping in my head. Dances With Wolves was another huge one. Also a bunch of other Disney films.

How apropos! Dances With Wolves (1990, Kevin Costner). I did not plan this.

Dances With Wolves was the first movie that directly exposed me to a different way of life. I have no idea if it’s seen as problematic now or whatever, but back then it helped reinforce my interest in different cultures and peoples. It also filled me with deep sadness and anger. I wanted to be a part of that Sioux tribe. I wanted that strong community.

Few years ago in Arizona I met a young Navajo man, had to be in his late teens. I struck up a convo with him and he starts telling me about his favorite movie and then he goes, “The movie’s called Dances WIth Wolves, have you ever heard of it?”

What films first felt transgressive to you? Do you remember being secretive about any films you watched growing up?

Transgressive shit: Akira (1988, Katsuhiro Ôtomo). Saw this on a bootleg VHS (I think. Could have been legit) at a friend’s place when I was too young. I’m terrible with age shit, but I was between 11 and 13. I had no idea cartoons could do what Akira did. I didn’t understand much of what was going on, but the movie felt important. And it was.

Secretive shit: I thought hard about this one. I mean, Akira maybe had elements of “I shouldn’t be watching this,” but describing it as something I was “secretive” about feels inaccurate. I can’t think of any movie I felt secretive about. It ain’t really in my personality. I like to show people who I am and what I like and just really hope they don’t think I suck. I never got into overly sexual movies or anything like that to be embarrassed of. I dunno… can’t come up with much for you here.

Sort of related, I remember showing my mom and her then boyfriend a scene from Romero’s Day of the Dead because they were watching this show with mild violence and commenting how fucked up it was. I said, “You wanna see fucked up?”

After the scene was over (it involved zombies pulling someone apart in gory detail) they just stood there grimacing. Then my mom whispered, “You’re fucked up.”

I did feel slightly embarrassed once when I told someone how I wept during The Notebook.

Are there any films that define your formative years?

I googled “formative years” and it defined them as ages “0-8.” I will keep it strictly within those parameters. I also already mentioned a few formative years shit in the “deep impressions” section. There’s a ton of crossover in this entire interview. I could write in exhausting (and frankly, boring) detail about another bazillion movies here.

Moonwalker (1988, Jerry Kramer & Colin Chilvers) — Michael Jackson was a hero to me. In Moonwalker he turns into a rabbit, a car, a laser-blastin’ robot and a spaceship. I watched this so much. I’d bring it with me to people's houses and stuff. I remember wishing I could put a mask on and transform into an animal. I felt I was in danger all the time, and fantasizing about transforming into cool shit to either evade or fight would-be attackers made me feel temporarily powerful. I wanted to know the Michael Jackson in this film. I also wanted to be him. He was so caring, brave, strong… and THOSE MOVES!

The Land Before Time (1988, Don Bluth) — I’m drawn to ensemble casts. I’m drawn to epic journeys that build or reinforce relationships. Dinosaurs are cool. This movie had me exploring the woods in search of the Great Valley with a few real or imaginary pals. I felt like part of the tribe whenever I watched it.

Joe Dante’s Gremlins (1984) and Gremlins 2: The New Batch (1990) — I had a stuffed Gizmo that I took everywhere with me until I lost it (devastating). My friend and I would pretend we were gremlins, or we were taking care of gremlins. There’s a gremlin named Stripe in the first one and there’s one named Mohawk in the second, but we referred to both of them as one character we called “Spike.” I don’t know why. I’d always pretend “Spike” was actually a good guy through some strange plot twists when we played. I soooooo wished Gizmo was real. I wanted to be Billy because he had a cool secret pet, and that made him special.

My Girl (1991, Howard Zieff) — Being exceptionally afraid of death and having a hyper-aware sense of the fragility of human health at a young age made this movie hit me like a Louisville Slugger to the guts. It ain’t like I never saw death on screen before, it just never felt so close to home. It gave me a sickly feeling about being human/mortal. Most of my friends viewed Thomas’ demise as something sucky but ultimately distant from them. Not me. I’d look at people and think, “Any of us could die at any time.” It didn’t make me appreciate life more, I just felt unsafe and a little desperate. Also I had a mini-crush on Vada. Also I identified with Vada… so I kind of had a crush on myself.

The 1990 It miniseries felt like a movie so I’m including it here. Another ensemble cast with a focus on relationships. Saw both episodes at a friend’s house. And when I say “saw” I mean I watched maybe 45% of each episode. I tried to force myself to watch because I was really invested in the story. I just wasn’t brave enough. I kept hiding in other rooms or collecting myself outside. (Yeah, it was so terrifying to me that I chose to be alone outside rather than even hear a sound from that series.) It was around this time I became more consciously aware of how much horror impacted me in comparison to others. Like, no one else was running out of the house every ten minutes. The way It made each character see things others didn’t cut right to my damn soul.

Teenage Mutant Ninja Turtles is worth repeating. It was possibly the biggest movie of my “formative years.”

Some quick ones:

Disney movies (anything I could get my hands on). The Little Mermaid (1989), Bambi (1941), Dumbo (1941), etc. etc. Those films were there for me when my mother was deeply depressed and I was afraid and confused. Forever grateful for that.

Star Wars original trilogy (1977-1983, George Lucas). I was born into a Star Wars family (well, a few people on my mom’s side). Always took these films for granted, like they were a relative or something. Just part of my life from the start. It’s difficult to coherently explain what they meant to me because of this, but these were a major part of my formative years.

The Muppet Movie (1979, James Frawley) — although my appreciation definitely grew as I got older, it was still a big one.

The Secret of NIMH (1982, Don Bluth).

Back to the Future (1985, Robert Zemeckis).

Batman (1989, Tim Burton).

Home Alone (1990, Chris Columbus).

An American Tail (1986, Don Bluth).

Can you talk about the influence film has had on your writing or art?

I can't because nothing specifically comes to mind. I’m terrible at talking about art shit.

What directors, film movements, or particular actors have been an influence?

John Carpenter.

Akira Kurosawa.

Anthony Hopkins.

Toshiro Mifune.

Hayao Miyazaki.

Steven Spielberg.

Johnny Depp.

Jackie Chan.

Winona Ryder.

Ruth Gordon.

John Woo.

I could go on and on. Some of those don’t have as much influence now, but others still do. These are all fairly older picks.

Have you ever made a film? If so, has the process of doing that had an influence on your writing?

I made two very short, very ridiculous movies. It’s hard work, even if the project is just for fun. You need everyone on board and committed… and it’s hard getting people to stay committed when things get uncomfortable.

It’s had no discernible influence on my writing, but it reinforced something I already knew: judge people by their actions, not their words. You can tell me “I’m in!” but when things get uncomfortable, I’ll see where you’re truly at.

(I’m only using the actions/words thing in the context of creating art together. I’m sure there are exceptions).

Are there films you associate with a particular time in your life, or a specific writing or art project?

A ton of the movies I already mentioned fall into this category. I'll toss a few more in. Let’s get in and get out quickly and incompletely like a bad police investigation.

Jurassic Park (1993, Steven Spielberg). 10 years old. Coolest visuals I’d ever seen. I gave the dinosaurs dialogue (after the tenth time of watching with pure reverence). Pretending to be velociraptors with my friend Jer.

The Matrix (1999, Lilly Wachowski, Lana Wachowski — at the time known as “The Wachowski brothers”). 16 years old? In a toxic, destructive relationship. Me at my most misfit. Knew zero about the movie and saw it on opening night. Partner had a panic attack during it. I adored it. Reminds me of a period where I was called a freak and regularly had shit thrown at me in school etc.

Seven Samurai (1954, Akira Kurosawa). 12th grade. More purposely (as opposed to just random suggestions) exploring movies outside of my comfort zone. Being nervous about the future. Realizing just how many incredible films there were out in the world. Secretly feeling cool that I “discovered” Kurosawa’s movies even though 99.9% of my friends didn’t give a shit.

Dollars/Man With No Name trilogy (1964-1966, Sergio Leone). Just out of high school. Starting to delve into westerns (in part thanks to Mr. Kurosawa). Bought the box set based on a hunch that I'd enjoy it. Went to a houseparty right after purchasing and took the set inside with me. Frequently visited the set (left on a table in the living room) throughout the night with a sense of excitement. Watched with a like-minded weirdo pal, then pretended to be gunslingers at a few parties — hats, fake guns, cigars and all. People weren’t that amused. Went grocery shopping as gunslingers and staged western standoffs in the aisles. Really indulged in acting like a (harmless) moron during this time. To this day when I’m around other weirdos I get carried away.

Grew up on Long Island and frequently visited NYC before moving to it. So for sure. But oddly enough I don’t often think about film history when walking around and stuff. I might be too close to it or something. As far as cinematic environments go, I lived in a shitty tiny trailer for a while after my family was scammed and the house we were about to inherit from my grandma got ruined. So it was just some piece of shit trailer next to a destroyed house. Kind of cinematic.

Are there films you regularly return to, and do you know why?

I don’t often rewatch movies because there’s always something else I want to see. That said, Romero’s Dawn of the Dead is one I’ll revisit often. It’s my all-time favorite movie. I love the ensemble cast and siege narrative. I love how it feels loose and lived in. It’s an old friend of mine.

There’s a handful of others. Burton’s Pee-wee’s Big Adventure rewards repeat viewings. It makes me think about watching it at my friend’s house and feeling warm and cozy and laughing our asses off (except for the Large Marge scene).

Do you have any lines of film dialogue you regularly use in your daily life?

Tons, but I don’t necessarily use them in witty ways. Like… I’ll just randomly say them. Here’s a handful:

“Good morning Mr. Breakfast!” — Pee-wee’s Big Adventure (1985, Tim Burton).

“I need your clothes, your boots and your [insert thing I am asking for].” — Terminator 2: Judgment Day (1991, James Cameron).

“My cat can eat a whole watermelon!” — Rubin & Ed (1991, Trent Harris).

“HEY! Fuck youuuuu.” — Session 9 (2001, Brad Anderson). I don’t particularly love this movie, but that line delivery is too great

“EVERYONNEEEE!” — Léon: The Professional (1994, Luc Besson).

“Who’s the baddest?” — The Last Dragon (1985, Michael Schultz).

“I just felt like running!” — Forrest Gump (1994, Robert Zemeckis).

“Heellooooooo!” — Mrs. Doubtfire (1993, Chris Columbus).

“FOR.EV.ER.” — The Sandlot (1993, David M. Evans).

Here’s a recent one (often yelled to someone from another room): “Mind the doors!” — Death Line (1972, Gary Sherman).

Are there individual scenes that stay with you?

There are a great number of scenes forever living in my mind. I’ll stick to older stuff:

The Brave Little Toaster (1987, Jerry Rees) — The junkyard scene. Cars are being killed while reminiscing about their lives. Fuckin’ brutal even now.

The Bodyguard (1992, Mick Jackson) — Seeing Costner jump out the window into the snow has always stuck with me. I remember it looking really gorgeous and badass. No clue if that scene plays out the way I have it in my mind. Also… hearing Whitney Houston curse! OMG!

Ghostbusters (1984, Ivan Reitman) — Library ghost. When I first saw that I think I inadvertently yelped. (This was also a formative years movie.)

Clash of the Titans (1981, Desmond Davis) — the battle with Medusa, Bubo the owl, the witches, the monsters, the stop-motion animation… everything. This whole movie is one giant scene in my head. (Another formative years movie.)

Bride of Boogedy (1987, Oz Scott) — Dad from the series (Richard Masur) floating around while possessed by Mr. Boogedy. This really frightened me. Any guardian figure who becomes possessed gets right to the core of me. Possibly some psychological shit going on here.

The Shining (1980, Stanley Kubrick) — bathroom scene. You know the one. Don’t make me describe it.

Pet Sematary (1989, Mary Lambert) — Zelda scene… you know the one. Don’t make me describe it.

A Better Tomorrow (1986, John Woo) — Mark pouring a drink over his ruined leg.

Poltergeist II: The Other Side (1986, Brian Gibson) — Walked in my friend’s living room and I see this terrifying reverend asking to be let inside a house. I run away. Come back just in time to see the tequila worm scene which, combined with the out of context scene before it, was one of the most disturbing things I’d ever seen.

Troll 2 (1990, Claudio Fragasso) — I wake up in the middle of the night and turn on the tv. I see a kid transforming into a gooey plant thing and then being eaten. For a long time it was just some random clip that frightened me so badly I wouldn't eat for part of the following day. Back then it wasn’t easy to just look up movies. I think I even had to post on some forum a few years later to figure out what it was. One of my favorite movies. I introduced no less than 20 people to this.

Ugh… there’s so many. I have to make myself stop…

… The Omen “It’s all for you, Damien!” Suspiria mirror flash. The whole hospital segment of Hard Boiled.

Here’s one fairly recent watch for you: To Sleep with Anger (1990, Charles Burnett) — Hattie’s (Ethel Ayler) first appearance. That big explosion of bright white hair.

What films have roused a visceral reaction in you?

Shitloads. I’m a visceralass person.

The Blob (1988, Chuck Russell) — There’s something super vicious about the kills in this movie that make my palms sweat. The movie theater sequence still gets my fight/flight response going.

Home Alone (1990, Chris Columbus) — Still makes me grit my teeth. Specifically the nail in foot scene. NOOOOOOPPPEEEE.

The Texas Chain Saw Massacre (1974, Tobe Hooper) — Especially the famous hammer bash and the meat hook hanging.

In the Mouth of Madness (1994, John Carpenter) — “Today’s mommy’s day!” First saw that scene in my friend’s dimly-lit bedroom and felt my soul trying to escape my body.

Saving Private Ryan (1998, Steven Spielberg) — The slow knifing scene turned my mouth and throat into an alien desert landscape.

Don’t Look Now (1973, Nicolas Roeg) — The ending sequence has to be one of the most memorable endings of all time. It’s shocking, weird, brutal, creepy, and beautiful.

Threads (1984, Mick Jackson) — Absolutely devastating.

Which of your writings or artworks would adapt most successfully to film?

No idea. How bout you tell me and we work on something together.

Can you give some film recommendations for those who have liked your writing and art?

I didn’t even mention Die Hard, Labyrinth, Beverly Hills Cop, Indiana Jones, Beetlejuice, RoboCop, The Nightmare Before Christmas, etc. etc. … so many huge gaps.

Here’s my recommendation for people who like my art:

Ratatoing (2007, Michelle Gabriel). Not to be confused with Ratatouille (2007, Brad Bird & Jan Pinkava).

Crow Jonah Norlander

« Previous 1…6 789 10 11 Next »