"Rants & Ravings About Horror - Week 26: “The Dreamscape & Nightmares of Clive Barker”

Week 26: “The Dreamscape & Nightmares of Clive Barker”

I’m a huge fan of novelist Clive Barker.  I’ve read most of his books and comic books based on his characters and stories (and even the ones he’s written) and I’ve seen all of his films as a director including those also associated with characters and worlds that he has created.  Barker’s unique talents for creating dream-like worlds and nightmares have inspired writers and artists for generations.  Despite having only directed three feature length films and a couple of shorts he’s produced lots more and most all of his characters and worlds have been translated in various other mediums.

For right now, I’m just going to focus on his three films as director – Hellraiser (1987), Nightbreed (1990), and Lord of Illusions (1995).  Trying to tackle every Barker film or associated with him would include the entire Hellraiser franchise, the films based on the Books of Blood, the Candyman franchise, and the various side projects that he’s produced, executive produced, or just provided a screenplay, not to mention the video games and the thousands of pieces of artwork that he’s produced.  

I came to Barker via my older brother and his Books of Blood.  He had them all because of a paper he was writing for school.  He knew I was big into horror (even in middle school) and handed me one of the volumes of the Books of Blood.  I devoured that first book.  At the time I was a huge fan of Stephen King so being introduced to Barker was naturally the next step.  I quickly read the other two volumes.  I was introduced to Hellraiser the same year the second film Hellbound: Hellraiser II (1988) was released.  I saw the first film and then immediately wanted to see the second film (but unfortunately I was too young to go see it in the theater so I had to make do with the first film).    I was aware that Barker had written and directed the first film but I had not yet read The Hellbound Heart on which the film is based (I’d read that novel around the time that Hellraiser III: Hell on Earth, 1992 was released). 

Hellraiser was unlike anything I had ever seen before.  I had a healthy diet of films based on stories by Stephen King (i.e. Carrie, 1976; Salem’s Lot, 1979; Christine, 1983; Cujo, 1983; Children of the Corn, 1984; Firestarter, 1984; Silver Bullet, 1985; Cat’s Eye, 1984; Creepshow, 1982) and Barker was the next novelist I was aware also was associated with films.  It was a dark and violent film yet the gore was presented in a very beautiful way.  It was never a film that was suspenseful, in my opinion.  The only scene that really put me on the edge was Frank’s rebirth scene in the attic which seemed like the most painful scene in the entire film.  Even now, knowing how that sequence was actually achieved it gets to me.  For me the Cernobites were cool!  They were dressed all in black and when Pinhead spoke it was poetic.  I never had any fear of him.  Instead. I had fear for Kirsty (Ashley Laurence).  She seemed like an “everywoman” just like Nancy Thompson in A Nightmare on Elm Street (1984) and Laurie Strode in Halloween (1978).  Kirsty loved her father but disliked her step-mother and was thrown into this otherworld when she’s first assaulted by her uncle Frank.  Even after all these sudden revelation she finds the courage to do the right thing in order to save her father (a journey that would continue into the second film).  Hellraiser was a film with something to say in its complex and broken family atmosphere shrouded in the fantasies of hell.  It was a great debut feature from a talented writer.

Hellraiser was a tremendous success and the sequel Hellbound: Hellraiser II would be released only a year later.  Barker would only executive produce Hellraiser III: Hell on Earth and Hellraiser: Bloodline (1996) before having nothing else to do with the franchise.

It wouldn’t be until 1990 when Barker’s next film as a director would be released.  Nightbreed (1990) had a lot more trouble reaching the screen than his previous film.  By this time I had read The Damnation Game, Weaveworld, The Hellbound Heart, and now Cabal, which was the basis for Nightbreed.  I was highly anticipating this film!  My brother was still a Barker fan and saw this film on opening night.  I had to wait to go see it with a bunch of my friends.  We bought tickets for some PG-13 film but snuck into the theater to see the violent and monster filled Nightbreed.  Now anyone who knows about the history of this film will know that Barker and the studio went head-to-head in regards to his film.  The budget was smaller than Barker’s vision so he had to make a lot of compromises.  His director’s cut was longer than what the studio wanted to release into theaters and the studio marketed the film as a run-of-the-mill slasher film.  All of this contributed to a film that unfortunately tanked at the Box Office.    Critics were mixed about the film and general audiences didn’t know what to do with a film where the monsters were the good guys and the cops were the bad guys.  The film quickly disappeared from theaters but that would not be the end of this film audiences would discover it on video.

Hearing about all the controversy surrounding the film and rumors of a longer director’s version of the film, Nightbreed’s cult status began to grow.  Audiences gave the film new life and eventually a Nightbreed: The Cabal Cut surfaced at film festivals with footage never before seen and scenes restored in order originally intended by Barker.  I was one of the fortunate people to see this version as I helped bring it to Georgia at the 2013 Gwinnett Center International Film Festival, where it would have its Georgia Premiere (it would also screen at DragonCon later the same year).  

Nightbreed like all of Barker’s stories is a world filled with amazing creatures and a vast mythology that screams to be told and seen and it is an acquired taste.  This is one of my favorite fantasy films as for me it is more fantasy than horror (as are most all of Barker’s novels) as well as my favorite Barker film.

We return to the world of “cool” with Barker’s next feature Lord of Illusions (1995).  Since Nightbreed’s release several other films associated with his name would be released such as Candyman (1992) and its sequel Candyman: Farewell to the Flesh (1995), and Hellraiser III: Hell on Earth, so the world was getting plenty of Barker.  Lord of Illusions would be a different type of film as it would take place in the world of magic and illusions as well as that cults, monsters, and horror.  Starring Scott Bakula (from TVs Quantum Leap) and former Bond Girl Famke Jennsen (whom I’ve always had a thing for) I was dying to see this new film.  I saw it on opening night and was not disappointed.  Despite being a mystery film filled with magic and illusions it was still a Barker film that also had a Jamestown-like cult at the center and many people who would meet grisly ends.  It is also the first time that Barker’s broken private investigator Harry D’Amour would be brought to the screen.  As much as I loved this film, it doesn’t seem that mainstream audiences liked the film as it only made $13.4 million at the Box Office which ruined the chance of any further big screen adventures for D’Amour.

Lord of Illusions also had its problems reaching mainstream audiences as it was also a hard film to market.  Its mixture of horror, mystery, cults, monsters, and other strange paranormal things confounded audiences and critics once again.  It wasn’t until the film reached video that it found its true audience.

Hellraiser is Barker’s only film that has a huge mainstream following and with nine films in the franchise it has a life of its own.  Candyman is the only other film with its own franchise while most of the other properties associated with Barker has had mixed results to best. My favorite has been the films associated with the Books of Blood series which is Dread (2009), The Midnight Meat Train (2008) and Book of Blood (2009).  These have all been some excellent films that stay true to the spirit of Barker’s stories.

For those of you who didn’t know, Barker also directed two “official” short films prior to Hellraiser.  I say “official” only because Barker wrote and directed lots of stage plays and probably directed more short films than the two I’m about to mention.  Salome (1973) and The Forbidden (1978) are the two short films you can easily find.  There’s such a huge gap in between these two shorts and his first feature that it’s hard to believe that he didn’t do anything else.  These are both disturbing visions from a director trying to find his voice and style in the film medium.  More a curiosity for Barker fans than anything else as he adapts two of his own stories.

Barker may not have directed a lot of films in his long career but there is no denying his lasting influence can be seen and felt in the vast worlds that he has crafted and which others continue to inhabit and play in. 

“Rants & Ravings About Horror” - Week 5: “VHS Collecting For the Horror Fan”

Week 5: “VHS Collecting For the Horror Fan”

As we move ever so closer to an all-digital, world DVD and BD sells, for the most part, have dwindled year upon year except for maybe for us horror fans who continue to purchase Special Editions and Anniversary Editions of some of our favorite horror films.  Recently, a 30^th Anniversary Edition of Ghostbusters I & II was released to BD.  The entire Halloween series was released in a massive 15 disc BD collection not to mention the long awaited Clive Barker’s Nightbreed: The Director’s Cut and such companies as The Criterion Collection, Scream Factory, Shout Factory, Kino Video, and Blue Underground are among some of the more boutique distributors who cater to horror fans. 

But what about all the long forgotten horror gems still left unreleased either to DVD or BD?  For every new version of Army of Darkness re-released to DVD/BD there are ten Willard (1971), Ben (1972), Amsterdamned (1988), and Tobe Hooper’s Night Terrors (1993) which can only be found on VHS.  This is a reason why the VHS secondary market thrives to this day.  For every ten films newly released to DVD or BD there are still another 100 films yet to be released whether they be films like Bog (1983) or Peter Jackson’s Forgotten Silver (1995).  To make matters worse there are also the plethora of OOP films like Watchers (1988) or Fright Night Part 2 (1988) whose DVD on the secondary market can command upwards of $80 or more.  Instead of shelling out this crazy amount of money for a single film many horror fans have continued to purchase VHS copies of some of their favorite films (or the strange oddity relegated to the VHS dump bin).

I’m a huge collector of horror films both from some of my favorite directors and even more of the obscure horror films and documentary specials like Transmutations (1985) and Clive Barker: The Art of Horror (1992).  A lot of television specials made their way to VHS but have been completely forgotten since then like Dracula in the Movies () and Dean R. Koonz’ Whispers (1990) and Servants of Twilight (1991).

As I continue to research more forgotten horror films I try to search them out whether they are on DVD/BD or still languishing on VHS.  My VHS collection continues to grow year over year.  For me, searching out horror films that I either didn’t know about growing up or haven’t seen since I was a kid is a huge joy.  Every year my list gets longer and longer but I still manage to cross many off from time to time.  My VHS films share the same space on my shelf with all my other films.

Now, collecting VHS, like collecting anything else, can take up a lot of shelf space.  One of the great things about DVD and BD are that they take up so little space but VHS tapes look so much better on display.  Besides the regular VHS style boxes there are the Big Boxes and clam shell boxes and Special Widescreen Hard Cases that make VHS tapes more appealing.  My Widescreen, Hard-cased Dawn of the Dead (1978) makes a great visual companion on the shelf with its DVD cousin and the rest of my George A. Romero films (it sits with my VHS Widescreen Editions of NOTLD: 30^th Anniversary Edition and Season of the Witch).  My Special Edition of King Kong (1933) in a box that (still) roars when you press on Kong sits next to my Special Edition DVD Box Set (and the Peter Jackson remake).  Of great proud to me is my VHS screener copy of Rawhead Rex (1986), originally given to video stores to entice them to purchase more copies of the film for rental. 

On a non-horror film note I also have VHS copies of animation auteur Ralph Bakshi’s Coonskin (aka Streetfight - 1975) and the polarizing The Plague Dogs (1982).  Movies from all genres are still waiting legitimate DVD/BD release.  I’m always on the lookout for films from all genres that are hard to find.  Most of the films I find can usually be found on eBay or Amazon but collector editions of even VHS films can carry a hefty price tag.  I can still manage to find some used book stores and Goodwills that still have VHS tapes at cheaper prices (because they have no idea of what they may truly have gathering dust on their shelves).

VHS collecting is not for everyone.  The industry to moving to an all-digital world and pretty soon (unfortunately) both the DVD and BD collecting market may completely dry up which means that the VHS market will ultimately completely disappear and become extinct.  I don’t look forward to the day when I only have a large hard drive to look at rather than my large Big Boxes and Clam Shell VHS tapes and Special Edition DVD and BDs.

What about you?  

Book Review: CLIVE BARKER’S NIGHTBREED: THE MAKING OF THE FILM

For those wanting to know more about the debacle of what became of author and director Clive Barker’s infamous film Nightbreed then look no further than his book Clive Barker’s Nightbreed: The Making of the Film which he wrote the Forward for and contains the screenplay within.  Nightbreed, being Barker’s second feature film and one with a significant budget increase, the final version of this film was hampered by Studio politics.  In Barker’s Forward he hints at some of this but more importantly he wants audiences to step into the world that he has created and sympathize with the monsters of Midian.  The book contains what appears to be the script for the final theatrical version of the film rather than Barker’s complete original screenplay as it indicates places where scenes were cut or missing (but there is no differentiation from scenes cut from the final version of the film verses those never filmed). 

An Introduction by Mark Salisbury and John Gilbert allows some of the stars of the film to give their take on the experience of making the film.  This allows readers an inside look at the making of the film (especially before reading the screenplay).  Not only does the book contain the screenplay but there is a plethora of production stills and behind the scenes stills as well as stills of the cast & crew just chilling on the set and having a good time.  At over 230 pages the book has a wealth of added bonus to the reader.

The book will be a great addition for any Barker or Nightbreed fan whereas the book is just a curiosity for all others especially those who find reading the screenplay to a film a tad boring but this being said there are a lot of pictures contained within that you will not have seen anywhere else.    Barker also spreads much of his artwork for the film throughout its pages so it can also be seen as another one of his art books so there is a lot to be said for this book.

Horror Films at the Gwinnett Center Int’l Film Festival

As a first year international film festival the Gwinnett Center Int’l Film Festival (held July 27-28) had a healthy dose of genre films (I should know since as Program Director I scheduled them).  Located in Duluth, Georgia right off of I-85 the Gwinnett Center houses three screening rooms and two panel and workshop rooms all within walking distance of each other.  This makes for an all encompassing event for the average indie film watcher.  As Program Director of the event I wanted to provide audiences not only with a healthy variety of international films but films of all genres which include sci-fi, comedy, drama, animation, and experimental including horror.

THE SHORTS

There were many shorts this year on display for the avid horror fans which include the Edgar Allen Poe inspired Her Heart Still Beats (which has great play in many film festivals thus far) Play House, which begs the question of how far would a father go to create the perfect family at any costs, and Root, a disturbing psychological look at a woman trapped between her fiancé and the man she’s having an affair with.  There were also a few interesting oddities such as the faux trailer Hell No, which demonstrates what would happen if all characters in horror films actually made intelligent choices (this was a personal favorite of mine) and the whimsical dance piece Dance Till You Drop.  There was also the Georgia Premiere of the second episode of the web series Ghost Trek: Goomba Bodysnatchers Mortuary Lockdown and the World Premiere of my own short film Primal (think infected mixed with zombie film) and the bad mothering of Wide Awake, where the dead children of a woman come back to haunt her.  Surprisingly, there was only a single student horror film which was Visitation Hours, which had a recently dead teenager return to make amends. 

Some of my personal favorites were Root, Play House, and Hell No as these films had something more to say about the human condition and the horror genre.  It’s always good when a horror film tries to say something more about the darker side of the human condition rather than simply be a gore film or a film that goes for the lowest common denominator.  More often than not many shorts have little to say other than be simply entertaining.  It should be noted that Root received the 2013 Audience Choice Award for Best Fiction Short.

THE FEATURES

There was a surprisingly large number of horror features on display this year and it seems that zombies were the monster of the year as they featured heavily in Ace the Zombie, a local production with the effects talents of 9 Cop FX behind it, and the Brazil film Beyond the Grave, a post apocalyptic world with zombies and all kinds of other manner of creatures and evil.  My feature House of Secrets is a suspense thriller that has a man buried alive to menace a group of women who wrongfully buried him and then there is the epic All Hallow’s Evil: Lord of the Harvest (with a running time of over 140 minutes) with every known type of monster thrown in; this film is for the hard core horror fan as Halloween is taken over by every type of monster in the book (zombies, werewolves, witches, goblins, ghouls, and even a killer clown, to name a few).

Each film presents its own challenges and offers a different perspective on the genre whether short or feature.  If you were unable to catch them at this year’s festival then I hope that you search them out online to see when they are playing at a film festival near you.

ON A FURTHER NOTE

The film festival also had a few other events lined up for horror fans!  9 Cop FX put together two workshops for our event which included “Special FX Makeup” where co-founders Ondie Daniel and Ace Talkingwolf applied make up FX to a couple audience members while also demonstrating how easy it is to create some of the amazing FX that they have achieved (they worked on Ace the Zombie).  Their second workshop on Sunday was “Distressed Accessories,” where they showed off some of their amazing props, costumes, and weapons created for the various films that they have worked on.  Another workshop was held by Ron McLellen (producer & writer of All Hallow’s Evil: Lord of the Harvest) called “Home Grown Special Effects” where he showed filmmakers and audience members how to use common household items to achieve low budget horror film effects.   These hands on workshops were a huge hit with the audiences and filmmakers.

We also had several panel discussions that interested our horror fans most prominently “Directing the Horror Film” with noted panelist Darla Rae (director of Brutal) and John Conkle (director of Zombeak!) and Christopher DiNunzio (director of Her Heart Still Beats) and Giles Shepherd (director of Ace the Zombie), to name a few.  There was also a panel discussion on “Fan Films” with Ron McLellen (who has directed fan films based on the Halloween, Friday the 13^th, and Texas Chainsaw Massacre franchises) and Ondie Daniel and Ace Talkingwolf (who have worked on numerous fan films through 9 Cop FX both horror and sci-fi).  For the “real” horror fan we presented a one-on-one interview between Russell Cherrington (producer of Nightbreed: The Cabal Cut) and Craig Sheffer (star of Nightbreed) that encompasses the actor’s huge history in film.  This was followed by the Georgia Premiere of Clive Barker’s Nightbreed: The Cabal Cut, which was our Saturday Late Night film screening, which started off with a Q&A of the film followed by the Director’s Cut of the film (which is approximately 145 minutes long).

All in all I believe this was a decent turn out for horror films and the horror fans as there was much for them to enjoy (and on occasion not so much to enjoy).  Next year I hope there is a bigger sampling of genre films especially from the student filmmakers and I hope to find another horror film worthy of the Saturday Late Night treatment.