The following blog post came from my e-newsletter I WAS BIGFOOT'S SHEMP, which you can subscribe to in the sidebar to get sneak previews of what I'm working on.
A week or so ago I was in Chicago for Trash Movie Night, where I screened JURASSIC PREY for some friendly fans. I truly enjoy visiting this group of people, even when I feel a little trickle of fear every time they cheer loudly when somebody gets murdered. The Q&As are always good, and I even had a guy say, "I gave this movie a bad review on Amazon, but when I watched it here, I liked it better." Nothing wrong with that.
JURASSIC PREY the movie keeps getting dynamited out of the ground after a long time just like the lead dinosaur in the story. There is now a U.K. release, and naturally the box art looks nothing like the stop motion rubber dinosaur inside.
The British website Nerdly, which rated PETER ROTTENTAIL one of the Top Ten Worst Horror Movies of All Time, didn't hate it. And the Schlock Pit liked it even better than hate.
On the new movie front, the secret project I titled TWICE SHY for the purposes of this e-newsletter is percolating right along for a July production shoot. I am going to try and visit the set and may even be put to work as a PA. I have tried in the past to PA for some of my movies and tell the director not to mention who I am so I can hear the actors say truthfully whether the script sucks or not. I've never been able to pull it off long enough to find out for real and for true. Having a television production background is handy for these things and also helps me realize what might take a million dollars to do in a movie that, politely, doesn't have that kind of budget.
For April my secret e-newsletter Book Club is Daniel Pyne's CATALINA EDDY. This is three novellas, loosely threaded together, that represent different time periods and genres of crime writing. The first, The Big Empty, is set in the 50s and is about a P-I trying to figure out who killed his estranged wife; the second, Losertown, is set in the 80s and is about a prosecutor trying to catch a big-time drug dealer; and the third, Portugese Bend, is a modern thriller about a paralyzed detective and a crime scene photographer teaming up to uncover the true identity of a murderer. The political side is sometimes painted in broad strokes, but the California noir is pretty cool.
Good luck with your own ongoing projects, and see you soon.
A week or so ago I was in Chicago for Trash Movie Night, where I screened JURASSIC PREY for some friendly fans. I truly enjoy visiting this group of people, even when I feel a little trickle of fear every time they cheer loudly when somebody gets murdered. The Q&As are always good, and I even had a guy say, "I gave this movie a bad review on Amazon, but when I watched it here, I liked it better." Nothing wrong with that.
JURASSIC PREY the movie keeps getting dynamited out of the ground after a long time just like the lead dinosaur in the story. There is now a U.K. release, and naturally the box art looks nothing like the stop motion rubber dinosaur inside.
The British website Nerdly, which rated PETER ROTTENTAIL one of the Top Ten Worst Horror Movies of All Time, didn't hate it. And the Schlock Pit liked it even better than hate.
On the new movie front, the secret project I titled TWICE SHY for the purposes of this e-newsletter is percolating right along for a July production shoot. I am going to try and visit the set and may even be put to work as a PA. I have tried in the past to PA for some of my movies and tell the director not to mention who I am so I can hear the actors say truthfully whether the script sucks or not. I've never been able to pull it off long enough to find out for real and for true. Having a television production background is handy for these things and also helps me realize what might take a million dollars to do in a movie that, politely, doesn't have that kind of budget.
For April my secret e-newsletter Book Club is Daniel Pyne's CATALINA EDDY. This is three novellas, loosely threaded together, that represent different time periods and genres of crime writing. The first, The Big Empty, is set in the 50s and is about a P-I trying to figure out who killed his estranged wife; the second, Losertown, is set in the 80s and is about a prosecutor trying to catch a big-time drug dealer; and the third, Portugese Bend, is a modern thriller about a paralyzed detective and a crime scene photographer teaming up to uncover the true identity of a murderer. The political side is sometimes painted in broad strokes, but the California noir is pretty cool.
Good luck with your own ongoing projects, and see you soon.
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