In addition to the usual reviews and comments you would find on a horror movie blog, this is also a document of the wonderfully vast horror movie section of the video store I worked at in my youth.

Sunday, November 15, 2009

Don't Kill The Messenger XXXVII

Hello all. I'll keep it brief today, as I'm not posting from my main computer, as it is having some virus issues.

Oh No James, Say It Ain't So.

I've spoken before about my unabashed enjoyment of last year's horror reality show Scream Queens, so imagine my glee when I heard that VH1 was going to give it a second season. Then, this week of the Twitterverse, one of the three 'judges' of the show, director James Gunn (Saw alumni Shawnee Smith and renowned acting coach John Homa being the other two) announced he wouldn't be returning due to a conflicting film project. That's a real shame because Gunn's presence is definitely one of the best elements of the show. He did assure everyone that his replacement will be up to the task and I can't wait to see who it is. For more on this story, click here. Scream Queens began casting for season 2 in August, so hopefully we'll be seeing a new crop of beauties clawing their way to that bloody tiara sometime early in 2010.

All A Twitter

And speaking of the Twitter, it's a great way to keep up with film productions. Yes, film websites use it as a sort of an RSS feed for their newest posts, but I was actually talking about directors, crew and even actors tweeting from their movie sets, keeping everyone in the loop. One such individual is Milla Jovovich on the set of Toronto's Resident Evil: Afterlife. And she's doing it a lot. And it's pretty awesome. To follow Milla's feed, go here. You can also follow actress Diora Baird, who has been tweeting from the set of the 30 Days Of Night sequel, Dark Days.

To The Tune of Thirteen.

As you know, Friday the 13th just passed us, so I thought I pass along this little interview that Mark Morton from the recently did with Harry Manfredini. Manfredini is the composer of almost one hundred film scores, including Swamp Thing, Deep Star Six, House and the seminal Friday films. Here's a sample of the interview.

Morton: So, with all of the technological advancements that emerge every year, when looking back, did you feel that you were limited at all when doing something like the original Friday the 13th?

Manfredini: If I have to say anything about horror films, it is the fact that they are un-limiting. You are really free to do whatever you want and be creative within anything you can think of. Harmonically, you are totally open, instrumentally, whatever! I mean, the “ch-ch-ch-ch” sound is actually me! But yeah, with the original Friday the 13th, they say that necessity is the mother of invention. There was no money and no time to do the score, so I really had to come up with all kinds of things on my own. I was using instruments that people laugh about now. I borrowed an instrument from a rock musician friend of mine called an Orchestron, which had a record player hooked up to a keyboard. And instead of playing music, the records had sound files on them, like an optical film track, and if you pressed a certain key, it would play the record at a given speed. It was really like a Rube Goldberg machine! It was hysterical. I also used an Irish tin whistle. I would open up a piano and scrape the strings with a quarter. Again, that’s the fun thing about horror films; you are free to do whatever you can imagine.

For the rest of the interview, click here. And for one of the most KICK-ASS INTROS EVAR, take a look below.

No comments: