Tuesday, October 6, 2015

All my hard work leads to an e-book boxed set -- about the End of the World.

Could NEAR-DEATH EXPERIENCES all over the world be leading to a dark plot to usher in the End Days?

For the first time, the complete DEMON DAYS Saga has been gathered together in a BOXED SET!
This Collection of all Four DEMON DAYS Books total 275,000 words / And nearly 1,000 pages of content!
And this Boxed Set includes the completely revised and rewritten DEMON DAYS Book One. 

The DEMON DAYS Saga is a fast-paced thrill ride that will leave you breathless as you follow -- Two Women searching for answers to a mysterious, deadly plot to trigger the End Days

Sandy Travis is a journalist who believes her boyfriend has become possessed after suffering a Near-Death Experience. 

Jenna Grant is an archeologist who is hired by her brother to authenticate the Black Pages, an ancient document revealing a modern international conspiracy involving dark forces known as the Red Veila group manipulating world events to achieve their ultimate goal –  Safe Passage for Satan to dwell among us… leading to THE APOCALYPSE


If you want to begin reading a Book Series celebrated as ORIGINAL… AWE-INSPIRING… A CUTTING-EDGE TAKE… on THRILLER AND APOCAPLYPTIC FICTION… 

Or read these books if you want to know how it could...


Monday, October 5, 2015




Sunday, October 4, 2015

Running to Embrace "The Walking Dead"

With October upon us, one naturally thinks of Zombies… 
Or at least I do.
And I ended up seeing a Zombie theme throughout Doug Pratt’s latest newsletter… whether he intended it or not. The Complete Review Excerpt from the October issue of THE DVD LASER DISC NEWSLETTER is actually about a certain zombie themed TV show. But before I get to that review I want to point out a couple of other reviews in Mr. Pratt's newsletter that I believe have an “undead” theme.
For instance, Pratt writes about the extraordinary documentary, THE JINX,  now available on DVD/Blu-Ray. The mini-series  (originally premiered on HBO). is essentially a compelling story of a killer who can’t seem to keep his victims from haunting his life. That’s what I would call a zombie themed production. Faithful readers of this blog will know that my take on the HBO series focused on how the director found his creative footing making the documentary version of a story he had previously fictionalized in a terribly flawed feature film. Mr. Pratt concentrates his evaluation on the documentary mini-series but comes up with the same verdict — “The final episode (in the HBO mini-series) raises the quality of the documentary to a stellar level.”

I cringe whenever I read about someone I know (and even when it is someone I don’t know) who is involved in a film production that has fallen apart prior to production. However, there're also films that fall apart, or rather never come together, after the shooting is over. THE AMERICAN DREAMER is a documentary film released in 1971 focusing on the actor/filmmaker Dennis Hopper as he labors on the editing of a feature film he directed, The Last Movie. And things are not going well.
Pratt uses AMERICAN DREAMER as a counterpoint to his review of  entourage, the feature film based on the popular HBO series. I love how he not only reviews the two projects separately, but also interlaces his thoughts on both movies in his review of AMERICAN DREAMER. And yes, I saw a zombie theme with his review. As Pratt points out, The Last Movie, stopped Hopper’s “career dead in the tracks… Ironically, it took another potential Hollywood disaster, Apocalypse Now, to resurrect Hopper’s subsequent career as a successful character actor.”
DeadResurrect… Both zombie terms right?

As promised, Pratt reviews an actual zombie project in our monthly excerpt - THE WALKING DEAD The Complete Fifth Season
If I was being completely honest, I went with this review as the excerpt because Pratt makes a reference to a particular episode of the TV Series. Since the broadcast of that particular episode I had been trying to work my reaction into several posts but failed. So I use Mr. Pratt’s newsletter review as the excuse to declare my thoughts on this post — the best of horror movies or TV shows should be disturbing in a way that haunts you while you watch, and long after the closing credits. This is just one reason why Episode 14, Season 4 of THE WALKING DEAD will go down as one of the greatest 43 minutes (without commercials) of horror ever broadcast on TV. It is a masterpiece that everyone involved in the production will be able to point to as a high-water mark in their entertainment careers. And as I wrote above, Pratt more than mentions the episode before he dissects Season 5, (and the series) in a way only he can.

Keep Walking

We’ve been telling anybody who will listen that if they want to sample THE WALKING DEAD and understand its brilliance, they should watch— and there is no need to see anything else

beforehand—the fourteenth episode in the Fourth Season, The Grove.  There is no episode in the new Anchor Bay Entertainment AMC Blu-ray release, The WALKING DEAD The Complete Fifth Season (UPC#013132629001, $80), that comes close to equaling the impact that episode has, but that is setting an unrealistic standard.

The Fifth Season is as terrific as the previous seasons have been.  The show plateaus slightly, but it never really repeats itself.  While it is the drama that holds the focus of one’s memories after an episode or a season is concluded, you forget a little bit, until you get caught up again in actually watching the show, how fantastically exciting it is.  You never know when the action is going to explode or what horrific image is going to appear next.  But it is because the drama is so good that these excitements and horrors are worth indulging.  They always mean something, because you care about the characters and their inner conflicts as much as you care about how they will get out of whatever predicament they find themselves in. 

The season has fifteen 43-minute episodes and a final sixteenth episode, which runs 64 minutes, although the ‘mid season break,’ which occurs at the end of the eighth episode, effectively splits the season plot into two distinctive stories.  In the first half, having survived the cliffhanger at the end of Fourth Season, the heroes come upon a church where a single survivor has sustained himself, and they use the building for their own protection as they make
forays to gather supplies and regain their strength. Then some less accommodating individuals show up.  Obviously, there is an exploration of morality and faith that builds up as the episodes advance, but it is so organic to the setting that it never feels forced or overindulged.  That is one of the reasons the show remains so satisfying—because the gore is abundant and the premise is so absurd, the philosophical  contemplations are magnified on their own and do not need to be unduly emphasized.  In the second half,
the heroes come across a community that has managed to create the semblance of a normal life behind its gates, and unlike communities the heroes have encountered in the past, there is no dark secret underlying its existence.  The residents, however, are somewhat naive about the nature of the world outside of their walls, and conflicts arise when they are confronted with the heroes’ pragmatism. 

The season is spread to four platters and each platter has a ‘Play All’ option.  Beware, incidentally—some episodes have little codas after their end credit scrolls, so don’t turn things off or jump to the next episode too quickly.  The picture is letterboxed with an aspect ratio of about 1.78:1.  The color transfer is flawless, and the special effects are seamless.  The 7.1 DTS sound isn’t quite as energetic as the sound mix on a blockbuster film, but it comes awfully close, with many terrific directional effects that get your heart rate pumping.  There is also a French audio track in 5.1 Dolby and English and Spanish subtitles.

A fifth platter has 16 minutes of deleted scenes that fill some plot details here and there, and 186 minutes of good production featurettes, most built around what is being staged in each individual episode.  One of the things we hate is when disc producers feel they must repeat a bad design flaw for the sake of consistency from one season of a TV show to the next, and that is what happens here.  Like Fourth Season, the brief collection of deleted scenes has a ‘Play All’ option, but you have to access every one of the #$!$@! forty featurettes individually.  And also, like Fourth Season, you have to guess which episodes are accompanied by the commentary tracks, since the only way to access the commentary indicator is to choose an individual episode for play.  Either the episode starts playing, which means there is no commentary, or a commentary option appears.  For the record, the first episode on the first platter has two commentaries, the first episode on the second platter has one, the first, second and fourth episodes on the third platter each have one, and the fourth episode on the fourth platter has one.  Most of the commentaries feature various members of the cast—and often the cast member who gets killed in that episode—as they share general reminiscences about the shoot and working on the show, with the first and last commentaries geared more to production personnel.  The talks are lighthearted (“It got so hot, I couldn’t remember my lines.”  “I thought you just couldn’t remember your lines.”) and mildly informative. 
Anchor’s DVD release (UPC#013132628998, $70) is also spread to five platters.  The fifth platter has the same special features, and the same lack of a ‘Play All’ for them.  The picture is only subliminally less compelling, as it has very strong colors and crisp details.  The 5.1-channel Dolby Digital sound, however, does not have quite the same command of atmosphere that the BD has.

Thursday, October 1, 2015


has come to an END

DEMON DAYS - Book One 
(Completely Revised and Rewritten/with online extras) 

Wednesday, September 30, 2015


I cannot let the month slip away without mentioning that the last two covers of the Official WGA Magazine  Written By feature three extremely talented writers. All deserve the accolades they are receiving, not only for their most-recent work, but for their career work as well. 

And as it so happens, I know all three Professional Screenwriters as... my "Poker Pals."  
Back in the day, there was a monthly poker game, typically hosted by Director-Producer-Screenwriter Daniel Petrie Jr. which many nights had enough players to fill two tables. Most of the regular players were Professional Screenwriters, but there were also guest players, including studio executives (Ricardo Mestres, Jay Stern); actors (Tom Hanks, Sean Astin) and even a certain playwright that will be remembered forever even though he played for just one night.*

The first time I played in the game I went away realizing I had a lot to learn.
Not about poker. I actually went home my first night a winner (and pretty much did well over the years I played).
What I had a lot to learn was about the entertainment industry. All around me, sitting at both tables were players holding cards who all seemed to know everything about the entertainment Industry — the producers, the studio executives, the projects that were dead, and the ones that were moving forward.
My attendance that first poker night ended up being a turning point in my career as a professional screenwriter. I dedicated myself to learn everything I could know about the inside workings of the Hollywood industry so it would help my writing career.

The three scribes featured in the WGA Magazines were there that night… and for years later. All three were always 
open and candid about their experiences in the industry. In fact, the failings I've had over my career sting more when I look back and see the career lessons that had been made available to me, but somehow I neglected to make holy. 

John McNamara was smart and witty, every night coming up with brilliant one liners that would have the whole room laughing. The soul of his droll remarks often had self-deprecation as its foundation, which ran counter to the confident, put-together appearance he always exuded. I believe this is one of the key themes running through all of
his best writing -- the huge differences between what often lies in front and behind the mask we all wear in public. This was on display in his creatively influential TV series, Profit, and includes his work on Lois and Clark

David Greenwald was a down-to-Earth guy,
one of the most approachable artists one could ever hope to meet. My specific respect for him as a screenwriter lies on his career trajectory -- he made the transition from a theatrical writing career to TV before anyone else. Whether it was from choice or necessity, what matters is that the transition led to his most distinguished work as a writer — as the main staff writer on Buffy the Vampire Slayer, followed by co-creating the spinoff ANGEL.

History is in David’s corner as TV has ended up being the place to be for many Professional Screenwriters who want to tell their best stories.

I worked with Jim Kouf when I sold a theatrical movie
pitch to Touchstone pictures (Disney). It was a pitch I set up at the studio largely due to Jim's enthusiasm and support for the project. 
After selling the pitch, we (my writing partner at the time was James Bonny) went to work writing the script with Jim every day on the studio lot, in his offices for weeks. 
Though the movie never got made, the experience of working with Jim has had a lasting and meaningful impact on my career. I could cite several things I learned from Jim. Actually, I have already, and will be doing so again.

But I close with this thought -- During the time I worked with Jim Kouf, he wasn’t my mentor. He was there to write and produce a theatrical film project we had set up at the studio.
Whatever I learned from him (or David / John), I learned on the fly. None of these men were mentors... teachers... or life coaches. Jim Kouf, David Greenwald, and John McNamara are on the covers of the WGA magazine because they are still actually writing scripts... Fighting the good fight to tell their stories as Professional Screenwriters.   

* The initials of the playwright are Aa S. His first and last appearance at the monthly poker game occurred during a visit to L.A. for a series of meetings with all the studios following the success of his recent Broadway hit. As he played cards he openly contemplated whether it was beneath him to pursue one of the many offers being thrown at him by Hollywood. I write this footnote as a huge fan of Aa S.’s work, but on that particular night, there was a mass migration of players from his table to the other table because no one could tolerate for very long his complete lack of appreciation for what was happening in his writing career, something that even professional screenwriters rarely have an opportunity to enjoy. 

Saturday, September 19, 2015


Everyone has dreams. 
My dream was to write screenplays.  
As you grow older, you either get closer to that dream or it seems to drift further away. 

Back in 1988, my dream of breaking into the film industry seemed like a distant ship on the horizon
Desperate to change things up, I thought up a plan that might allow me entry into the Entertainment industry -- writing for a magazine that was covering a film genre that I loved. 

Fangoria had already established itself by the late eighties as the bible for fans of horror — not only those who loved watching the gore up on the screen, but also those who wanted to work in an industry that made genre movies. 

There came an opportunity when I struck up a friendship with Darin Scott. He was a film producer who would allow me access to the production set of a movie he was producing – Stepfather II.  

I wrote to Tony Timpone, the editor of Fangoria, about my ideas for covering the production of Stepfather II for his magazine. Tony wrote back and after an exchange of messages, I ended up with the writing assignment for the magazine.  
The first story I wrote (with James Bonny) led to three more stories for Fangoria
Each experience with the magazine was amazing. And as a screenwriter wannabe, every time I was on set for the magazine, it allowed me to meet the people who were working in front of and behind the camera in the entertainment industry. More importantly, it's not who I met, but what I learned and how all of it affected my level of confidence. The more time you spend on a film set, the more comfortable you feel with the notion that some day you will eventually... belong.  

But that was then.  
This is now.  
Everything is different.  

So, I thought it would be interesting, and hopefully informative, to check in with someone working for Fangoria magazine today.  
Adam Lee Price is an Editorial Assistant at FANGORIA magazine. He’s working as an intern for the publication while he attends school and pursues a career as a Professional Screenwriter. 
On his Linkedin Bio he calls himself a “Horror Aficionado,” which is a good sign that the next generation of people working for Fangoria have a love for horror. 
Since we share this background, I decided Adam would be the perfect person to interview about breaking into the industry via an iconic magazine. 

Q: You’re working for the magazine as an editorial assistant intern. I could insert here some joke about what an editorial intern must put up while working at Fangoria magazines, but I won’t because I want this interview to be serious, not camp, like what happens with so many bad horror sequels. So here’s my question - what does a Fangoria editorial assistant intern do in his job?

ADAM: I DON’T GET COFFEE! The best thing about being an intern with FANGORIA is that I actually get to write! I’ve already been published four times! 
Of course, there is analytical work and emailing but that’s just par for the course. Probably one of the best perks is attending events such as screenings and premieres of some great horror flicks…a horror fanatics dream, or nightmare, one in the same for me.

Q: I used my freelance writing work for Fangoria as a stepping stone to get into the film industry. Was this one of your goals as well when you applied to become an intern at the magazine?

ADAM: I’ve been reading FANGORIA since I was in my  teens. I would look through the pages and imagine my future movies being reviewed. Back then I wanted to just act, but now I want to create horror icons like the ones originated by John Carpenter, Clive Barker, and the man who inspired me the most, the late Wes Craven. So, yes, working at this particular magazine is more than a stepping stone, it’s a doorway that has finally been opened!

Q: Fangoria has been around for a while. Do you feel the sense of “tradition” working for the magazine?

ADAM: There is a tremendous sense of tradition! I own many early editions of the magazine as well as most of the newer ones, and to see those who have come before me is thrilling. Knowing that one day there is going to be a kid like I was, reading those hallowed pages I’m now writing for exemplifies that!

Q: So what’s your theory about why people love a good horror movie?

ADAM: We are all insane! Honestly, there is absolutely something wrong with us! Funny thing is, if I see a needle or real blood, especially mine, I literally want to pass out. However, I love all the gore and blood and mayhem that the wonderful world of horror brings to the screen. Though I still won’t watch Cannibal Holocaust. My partner keeps trying to make me watch it…says he’ll even pay me, but I just can’t to it.  

Q: I hear you on Cannibal Holocaust. It’s one of the films that goes way beyond the normal slasher violence for a date night horror movie. During the production of Carver, the director, Franklin Guerrero, actually made it a point of showing the film to the cast and crew as a way of getting them motivated for what we would be shooting. What is it about CANNIBAL HOLOCAUST that prevents you from watching it?

ADAM: I could tell you I’m just not big into cannibal films, but the truth is I am a big animal lover. Hell, I even feel bad for (the shark in) Jaws and (the dog in) Cujo. Of course, I know that the killing in those films is not real, but still animal cruelty on the screen just bothers me. It is widely known that while filming Cannibal Holocaust, animals were not only harmed but killed to make the film more realistic. As silly as that may sound, it is the only reason why I won't watch it....though I cannot wait to see Eli Roth's Green Inferno!

Q: Everybody has a story to tell about why they want to be a Professional Screenwriter, but your background is interesting because of what you describe as -- a ten year hiatus so "that I may finally make my dream of writing for film and television a reality." So why after ten years was it important for you to make professional Film/TV screenwriting a career?

ADAM: Since I can remember, I wanted to be in this industry, in some way shape or form thanks to the movies A Nightmare on Elm St., Halloween, and Clue, yes Clue. However, about 10 years ago I lost my way. I forgot who I was. I guess that happens to a lot of people, and it had nothing to do with bad decisions, or drugs or alcohol. It was pure fear. I just wasn’t focused, my work schedule was getting to me, everything I wrote was crap, until I picked up a script I was working on and I realized I had to finish it. So I did! I went back to school so that I could get into the industry through the back door, hence the internship. I was so focused, and my writing was back on track! I started blogging and gaining readers, and before I knew it, I was pulling a 4.0. I finished the script and I got the internship at FANGORIA.

Q: Growing up you were a Boy Scout. I’m assuming you earned a merit badge that pretty much makes you an expert if suddenly confronted by a stab wound victim with blood flowing like a geyser?

ADAM: Well if there was that much blood, I’d probably pass out. Luckily, my father was my Scout Master, and I looked up to him so much, and not because he is 6’4, but because he believed in me. First, I'd probably have to overcome my fear of blood. I’d next proceed to tie a tourniquet above the wound, nice and tight to cut off circulation and stop the bleeding. If it was really bad, I’d light a thick branch from a tree on fire, blow out the flame, and burn that baby shut! And then I would pass out!

Q: I’ve often advertised myself as the “Last Boy Scout” working in the Entertainment Industry, but it’s always been a bit of hype on my part because I never got further than being a cub scout. Do you think having the Boy Scout background helps you in your filmmaking career?

ADAM: I’m an Eagle Scout…that helps everything I do! From confidence to getting out of sticky situations, being a scout is a huge part of my life. I’ve always wanted to write a really great horror movie about the scouts, so last year I wrote a short story called T356 for my blog that I may turn into a screenplay eventually. Check it out -- I Want To Suck Your Blog

Q: Let’s say the management at Fangoria magazine offers a perk to all the interns – the chance to assume the role of any horror killer/villain/antagonist. Who do you choose and why?

ADAM: Oh Michael Myers hands down. He’s the ultimate. He’s emotionless, faceless, and always one step ahead of everyone! He’s the first villain to just snap, for no reason other than he is pure evil. Now, don’t get me wrong, I love Freddy. I even own Wes Craven's personal copy of the original Nightmare On Elm St. But Mike is the man!   

The Production team behind this Interview would like readers to know that --
No Interns were maimed, injured or killed during this Interview