Darkness Found.

Both parts of In Search of Darkness are now on Shudder.

And they are a gas!

Fulci For Fake

Simone Scafidi's half biopic/half documentary on the life of legendary director Lucio Fulci looks pretty dope.

I'm down!

The Clapboard Jungle

Here's the new trailer for Justin McConnell's documentary The Clapboard Jungle.

When it says “five year journey”, that is no hyperbole. I've known Justin for many years now and I've been in the periphery of some of the projects and events that take place in the film so I'm eager to see it all put together. 

There were times when I thought it may never be finished. Not for lack of effort or funds, it's just tough to find an end point in a project like this. Life is life, right? It ebbs and flows and chapters are not as easily discernible as they are on the printed page.

The Clapboard Jungle will premiere on March 26th at the Canadian Film Fest.

Splatter Matters

Check out this new video from Rue Morgue TV about the 1986 Canuck faux doc Splatter: Architects of Fear where Canuxploitation's Paul Corupe tells the story about how the filmmakers put one over on the censor board.

While I was watching this video, the only thing I could think of was, “how have I never heard of this?!” However, when I was subsequently looking it up on Imdb, I immediately recognized the coverbox.

I always thought this was some shitty sub-Troma flick so I never looked into it. Damn, what a missed opportunity. Oh well, live and learn I guess. 

Direct To Video.

I'll just leave this right here...

I've got one word for Dustin Ferguson's new project, Direct to Video... SOLD!

Best Horror of 2017

I have a vision of now-me shaking my head at Xmas 2016-me when I was saying we were glad to see the end of that year, as if to say wait until you see the garbage pile that was 2017. Not for me personally of course for despite a hiccup in the summer, my year was decent. I premiered a new short at Toronto After Dark, finally got my foot in the door at Rue Morgue and picked up a new (now my fourth) programming gig - but more on that later.

In between all that I saw some movies. Here below are the five standouts.

The Shape of Water

Canada/USA, Dir: Guillermo del Toro

Though I suppose not technically horror, this was my favourite film this year period so I'm putting it front & center. I've said it many times before, but this movie is magical. I feel this is the unabated vision that del Toro has been leading up to his entire career. And it's timely. We needed this film. In late 2001, Amelie was released right when it felt the world was fractured beyond repair. The Shape of Water possesses that kind of whimsical healing power. Maybe I'm being melodramatic, but after months of being hoofed in the crotch every time I opened my social media feeds, del Toro's opus reminded me how much cinema can shine against the darkness.

Get Out

USA, Dir: Jordan Peele

And speaking of important films, there is Peele's masterful debut. Get Out is one of those rare pieces that continues to reveal hidden layers upon repeated viewings, even just the small things like the separation of milk & cereal and how the protagonist literally picks cotton to save himself. The horror genre turned a corner when revolutionaries like Romero, Craven and Hooper used the forum for social commentary and this practice still continues to be as powerful as it ever was. However, it goes even deeper than that, as Peele has a true command of the visual and audio aspects of the medium, as well. This film is a triumph.

Gerald's Game

USA, Dir: Mike Flanagan

In a year that saw many Stephen King works brought to the large and small screens - with mixed results - this was the cream of the crop. Long considered unfilmable, Flanagan did the impossible by not only doing it, but doing it well. I still maintain that this is the purest King adaptation to date. Brilliantly skirting the issues that long stymied its production, Flanagan hired two of the best character actors working today (Carla Gugino & Bruce Greenwood) and let them do their thing. I think it is now safe to say that Flanagan is the most consistent journeyman working in the genre today.

Split

USA, Dir: M. Night Shyamalan

No one is surprised more than me that M. Night made my list this year. Not only did he serve up a solid thriller with terrific performances by James McAvoy & Anya Taylor-Joy, he also managed to drop one hell of a bombshell at the eleventh hour. It's amazing to me that he was able to erase his erroneous past by just connecting Split with 2000's Unbreakable. It was like I entered an alternate universe where everything from the last act of Signs onwards never existed. Superhero cinematic universes are chock-a-block now, but it can be argued that M. Night was one of the first to attempt it.

Cold Hell

Germany, Dir: Stefan Ruzowitzky

The best film I saw at Fantasia this year, Cold Hell was a return to form from the director of Anatomy. With DNA that is the closest thing to a giallo I've seen in quite sometime, this film is bursting with kinetic energy that had me shadow boxing afterwards. I loved the character of Özge, deftly brought to life by Violetta Schurawlow, who despite constantly being in peril never let herself be a victim.

Honourable Mentions

It was a terrific year for Canadian genre film in 2017. At the top of the pile was Seth A. Smith's The Crescent with its quiet, creeping dread and experimental visual palette. I was also very entertained by the in-your-face excesses of Sebastien Landry & Laurence Morais-Lagace's Game of Death and... as I was typing this I realized that Graham Skipper's Sequence Break is not Canadian - I guess the Videodrome with arcade games angle had me thinking it was - but hell I really dug that one too.

As with 2016, there were a lot of good genre docs, as well. I saw a pair of great ones at Fantasia in King Cohen and 78/52, but my fave this year was Rob Grant's “faux” doc Fake Blood. I think frequent horror documentaries may be here to stay and that fills me with cheer.

Lastly, I just want to bang the drum for Issa López's Tigers Are Not Afraid. This is a stunning piece of work. I've seen it referred to as “the greatest film del Toro never made” and I can see that though I wager the feminine element is a large part of what makes this resonate as much as it does. After seeing The Shape of Water I thought to myself, “wow nothing is going to affect me emotionally as much as that did”. Then two months later I saw Tigers...

Now, for the chaff. I was fortunately much better at avoiding the garbage this year than I was last. However, that fucking Alien: Covenant, man... Life deserved much more praise over that, the characters were better, the effects were better and though they both had so-we-weren't-supposed-to-see-that-coming? endings, at least Life's was half as long. And it had one-hundred per cent less recorder.

Okay, that's it for features. I've decided that, since I've started seeing several hundred a year now, I'm going to do a short film wrap up so stay tuned for that tomorrow.

Blurring The Line.

Next up on the Blood in the Snow docket was Rob Grant's documentary Fake Blood.

An attempt to make a documentary about whether cinematic violence inspires the same in real-life pulls two filmmakers (Grant & Mike Kovac) into some very dark places.

Fake Blood was a very clever documentary. It was not only a piece about violence in film, but also the nature of filmmaking itself in that often you set out to make one thing and it, seemingly on its own, morphs into something else entirely. This was a perfect example of people chasing a story and falling down a rabbit hole into imminent danger. I found it very difficult to discern – without any context – how much of this documentary was fact, and what was fiction. I mean, I know it must have been, as there are three credited writers on the project, but it was so well crafted.

As storytellers, Grant and Kovac do a commendable job of setting the stage, using a weird fan video they received about the correct way to dismember a body (in response to seeing it done in Grant's previous film Mon Ami) as a jumping off point for their exploration into their responsibility as filmmakers when dealing with violent material. This was all very natural with nothing showy about it.

Later on in the film when they encountered a, let's say shady, individual, the ensuing dramatizations were consistent with every true crime show you've ever watched. Just when I had been sucked in by them, Grant, in a stroke of genius, pulled back the curtain to remind you that you were watching a recreation of a recreation. My brain was constantly trying to access how much of this was real and that's the mark of a good film.

Director Rob Grant with John Doe.

Fake Blood was definitely the most realistic doc I've seen in on this topic since J.T. Petty's 2006 faux-snuff doc S&Man. Unfortunately with Grant's film, I didn't get the luxury of having Petty point out his on-screen antagonist in the front-row after the screening. Until someone tells me definitively and I can breathe the sigh of “well of course that wasn't real”, this doc will be clanking around in my head for sometime.

Double Docs

I caught a pair of terrific documentaries while at Fantasia this week.

I wasn't able to see Alex Phillipe's 78/52 during its run in Toronto, but it was fortuitous because the filmmakers were in attendance for this screening in Montreal. This doc examines one of the most infamous scenes in all of cinema - the shower sequence from Alfred Hitchcock's Psycho. So named for the seventy-eight cuts and fifty-two second run time, this doc is extremely comprehensive, almost breaking the material down frame by frame with the help of filmmakers and scholars alike.

I loved this documentary because it concentrated on the pathos of the film and how much of an influence it had on cinema as well as the public at large. In doing so, 78/52 was not only a film about film, but also pop culture itself. I also really liked the range of subjects they brought in for the film that included the old guard like Peter Bogdonavich, the new blood like Justin Benson, Aaron Moorhead & Oz Perkins (who has an obvious connection with the material) as well as denizens in between like Mick Garris and Guillermo del Toro.

The crowd was also riled up when the filmmakers announced their next project. I haven't seen it announced online yet, so I won't keep quiet, but they are planning on giving the same treatment to equally iconic moment from late-seventies science fiction.

The second documentary, Steve Mitchell's King Cohen was a deep dive into the world of maverick filmmaker Larry Cohen. It was extra special to not only have him there, but also his long-time collaborator Michael Moriarty to present him with a lifetime achievement award. These two were a dynamic duo and wasted no time hamming it up with each other.

Photo courtesy of Kurt Halfyard.

I've always said that Larry Cohen is one of the purest horror filmmaker out there. His oeuvre is not only extremely vibrant and unique, but also uncompromising. Q: The Winged Serpent, It's Alive, God Told Me To, The Stuff, I mean the list goes on. As does the list of filmmakers that sing his praised within like Martin Scorsese, John Landis & Joe Dante. Cohen is also a prolific writer, having penned over a hundred pieces of work for film and television. I was honoured to be in his presence.

If you are into documentaries about the craft of film, then I highly encourage you to seek out this pair of docs. You'll learn a lot, and do it with a grin.

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Hello all. I hope you are enjoying the weekend. I popped my head out this morning after an epic Friday the 13th gaming session all yesterday for which my biggest achievement was surviving a one-on-one match with Savini Jason. It's really the little things in life. But anyway, here's what I got for you.

Shudderin'

AMC's streaming service Shudder premiered its new original show Primal Screen a few days ago. The first episode of the Rodney Ascher series was an exploration of automatonophobia - the fear of ventriloquist dummies, mannequins and other lifelike objects. The clip below relates a story of how the TV spot for the 1978 film Magic struck terror into the hearts of countless children.

I watched Primal Screen yesterday and really enjoyed it. Ascher's blend of documentary and dramatization is really engaging and I'm glad it's more like Room 237 than The Nightmare in that the focus is on the story rather than the storyteller. I'm really looking forward to the rest of the series.

The Evolution of the Art.

I found this cool piece of art on Etsy this week.

This Twin Peaks inspired candle holder is available in a few different colours and if you'd like to find out more, click here.

Killin' It.

Arrow Films just keeps pouring it on with their European releases. I recently pre-ordered their release of Argento's Bird With the Crystal Plumage, and now we have THIS.

I love this movie and its influence on American filmmakers - from Martin Scorsese to David Lynch - is immeasurable. The Blu-ray comes with two new docs and an interview with Lamberto Bava. I also saw that one of Sergio Martino's lesser known thrillers The Suspicious Death of a Minor is coming out, as well. For more details on the pre-order, check out Arrow's site here.

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Hey all. I've torn myself away from the Friday the 13th Game long enough to bring you today's post. Actually, I could probably do this while I wait to get into a match lobby (I keeed) but more on that later. For now, here's what I've got.

Zombies From Oz.

A trailer recently surfaced for the upcoming Australian TV series Wyrmwood.

I liked the original 2014 movie well enough. I think my only real qualm was that they opened the film introducing this really bad-ass heroine (Bianca Bradey, the gal who shows up at the end of the above video) and then she was chained to a wall for most of the movie -- coincidentally like Nandalie Killick does here. I was definitely won over by the end though.

What Are You Afraid Of?

AMC's horror streaming service Shudder is launching its original programming slate with a documentary/horror narrative hybrid called Primal Screen. Directed by Rodney Ascher (Room 237), Primal Screen explores why we are both attracted and repelled by what scares us most.

I'm into this. Primal Screen feels like an extension of Ascher's last doc The Nightmare, but I'm also getting Channel Zero vibe from it, as well. Primal Screen premieres this Thursday on Shudder.

Who Need Art Classes?

My friend Trevor directed me to this cool little art generator this weekend. Just go to http://fotogenerator.npocloud.nl, make a little doodle and this handy doodad will turn it into nightmare fuel right before your very eyes. Case in point...

Go ahead and try it. Fun for the whole family!

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Hey all! This week I'm just gonna throw up a bunch of cool things that were recently announced.

First up, is the trailer for the Netflix series Mindhunter.

If this David Fincher-produced show is even half as good as Zodiac, then I'm in. Man, every time I think that Big Red has topped out on their original content, they manage to top themselves. Look for Mindhunter in October.

Untold Horror, the series from Rue Morgue's Dave Alexander and Post No Joes' Kevin Burke that was pitched at last year's Frontieres is now officially on its way.

If there was ever a documentary specifically engineered for horror fans, this is it. I love hearing about the inner workings of the biz, and who better to hear about it from than the guys in the trenches.

On the more indie side of things, local filmmakers Larissa Thomas & Alicia Faucher just released this proof of concept trailer.

This web series is a submission for the IPF (Independent Production Fund), so if this is your thing, feel free to share.

Lastly, a Kickstarter plug for James Moran's new project, Blood Shed.

I am big fan of Moran's 2013 short, Crazy For You (now available on the anthology collection Minutes Past Midnight) so this is a no-brainer for me. If you'd like to contribute, please visit the campaign page here.

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Hello all. Winter has finally arrived here, so naturally I'm now nestled under a million blankets. Here's what I've got for you this week.

Park City At Midnight.

Well, 2017 is almost upon us which means that Sundance is not far away. This week, the Midnight selections for the festival were announced. Here are three for which I am looking forward.

Sundance has played several horror documentaries in the past, and this edition will see the premiere of Alex Phillippe's 78/52, an exhaustive exploration of one of horror's most iconic sequences - the shower scene from Alfred Hitchcock's Psycho.

From Australia comes Damien Power's Killing Ground. This flick, about a couple of campers who come across a child wandering in the wilderness, premiered in Melbourne last summer to positive reviews, so colour me intrigued.

The female-centric anthology XX will finally have its premiere in Park City this year. Featuring diabolical tales from Karyn Kusama (Jennifer's Body), Roxanne Benjamin (Southbound), Jovanka Vuckovic (The Captured Bird) & Annie Clark aka St, Vincent, I am really excited to see how this one turned out.

The Kids Aren't All Right.

A solid short I caught at Fantasia this year has made its way online. Here below is Tim Hyten's Snake Bite.

Spicy Meatball.

You know how sometimes you don't realize how much you've missed something, until it shows up again? Well, that's what happened to me when the trailer for Yoshi Nishimura's Kodoku: Meatball Machine arrived this week.

I love this stuff. Always have, always will.

Picture Perfect.

Kicking off the Blood In The Snow festivities last night was Kevin Burke's poster art documentary, Twenty-Four by Thirty-Six.

Having been a contributor to the project's Kickstarter campaign, I had been awaiting this for some time. I'd seen little snips here-and-there at various conventions and gallery events over the last year, so it was great to finally get my eyeballs on this thing. Like my experience with Creature Designers, it was so wonderful to see a loving exploration of something I hold dear.

I think there were three things that made this a decent documentary, the first being presentation. Now obviously I was wowed by all the posters that were constantly flashing onscreen, but they were also accompanied by animations that really made them pop. Second, Burke went out of his way to find a lot of subjects for his documentary. Not only did he have scores of artists like Roger Kastel, William Stout, Gary Pullin and Jason Edmiston weighing in on their craft, but also collectors and people whom their work has touched over the years. Lastly, there are a wide range of topics discussed that really open you up to the business and cultural side of things.

I mentioned Creature Designers earlier because both vocations share evolutionary similarities, as they struggled to get individual recognition in their early days. In 24 x 36, we learn that iconic artist John Alvin had to cleverly hide his signature to prevent the studios from removing it.

Click to enlarge.

In addition, while effects artists had to deal with the advent of CGI in the nineties, poster illustrators butted heads with Photoshop and the “floating heads” era.

Fortunately, the latter issue was rectified by the coming of MondoTees. Over the last ten years, illustrated movie posters have been making a comeback. Indie films have often adopted these posters to stand out in the crowd and the studios are slowly coming around, as well.

Three of my faves, Kevin Tong (left), Lauren O'Neill & Gary Pullin.

Deep into the documentary, it discusses the second market that has emerged from the MondoTees phenomena. It is common practice now that, just like live event tickets, posters will be sold out in seconds and then subsequently appear online for one-hundred times their selling price. I can't tell you how many posters I saw in this doc where I was like 'oh yeah, I tried to get that one. And that one. Yep, that one too'. I really liked that artist Tim Doyle has tried to buck that trend, even after received some flack for devaluing his pieces.

“I would rather sell a thousand copies of something to a bunch of people who just want something cool than sell a hundred copies of something to people just wanting to flip it.”

24 x 36 was well worth the wait. For cinephiles, this doc is a no-brainer, but I also think anyone would be able to appreciate the artistry and inner-workings of this business, both initially and nowadays.  

It's Alive!

One of the many awesome documentaries I got to see while at Ithaca Fantastik last week was Gilles Penso & Alex Poncet's Creature Designers - The Frankenstein Complex.

A pseudo-sequel to Penso's 2011 piece on the legendary stop-motion artist Ray Harryhausen, this doc focuses on the next wave of creature effects artists that grew up admiring his work, including Rick Baker, Steve Johnson, Greg Nicotero and Phil Tippett. It should be no surprise that I loved this doc and had a huge smile on my face through most of its running time.

Creature Designers gives you a wonderful peek behind the curtain of some of cinema's greatest monsters. Starting with the work of Lon Chaney and Jack Pierce, it transitions into the first recognized master of the modern era, Dick Smith. Much credit is given to Star Wars for opening things up, but the doors were really blown off in 1981 with the coming of three pictures - Joe Dante's The Howling, John Landis' An American Werewolf In London and John Carpenter's The Thing.

The Norris spider from The Thing.

The range of artists featured in this doc was astounding (Rob Bottin and Kevin Yagher being notable omissions) as well as the collective body of work of these silicone heroes. You can tell they all love what they do. 

Steve Chiodo with one of my faves of all time - The Crite.

Post-Jurassic Park however, things took a distressing turn. Most directors will agree that the best possible results come from a mix of practical and digital, but these days it seems that studios tend to rely on the latter a little too much. I said I had a smile on my face through MOST of the doc, but it was replaced with a frown when I heard Rick Baker and the guys at Amalgamated Dynamics relate their horror stories about having their hard work replaced or removed from the final product.

I have a feeling we may be headed for a swing back the other way. Film is cyclical and I'm confident that slashers and home invasion thrillers may soon be overrun by the creature fantastic. Considering what we got coming the next four years, I think we've had our fill of real world horrors. And like the Baker's and Bottin's grew up with Harryhausen's stop-motion wonders, my generation grew up with Baker and Bottin's tangible and textured monstrosities. Let's all do them proud, ladies and gents.

Phil Tippett with Robocop's nemesis ED-209

Anyway, if this doc happens to hit your Netflix, give it a shot, as it is a delightful look at one of the main reasons I became a horror fan.

Netflix Pix 11.0

While bouncing back and forth between BoJack Horseman Season 3 and Dragon's Den Season 9, I realized that Netflix Canada had recently added some really great horror titles from the last six to twelve months. It's been a while since I've done one of these, so here are some solid titles to get your October started.

You know doubt heard about The Witch when it hit theaters earlier this year. I think it is a fantastic film. It is not only incredibly well acted, but I love that everyone involved was one-hundred-per-cent invested in inhabiting the time and place of the film. While I admit the pace and language may not appeal to everyone, there is no denying this was an effort at the top of its craft.

Mike Flanagan (Absentia, Oculus) has recently switched gears from the supernatural to something more grounded (but no less terrifying) with Hush. It starts out as a fairly simple home invasion film, but I was surprised by how much the protagonist's disability added to the narrative. It was also rather chilling to see quintessential nice guy John Gallagher Jr. play a villain for once.

I saw this indie at Tribeca last year and was very glad to see this one pop up on Netflix. As you know, I love babysitter flicks, and Sarah Bolger plays one of the most unpredictable and unhinged child minders to ever hit the small screen. I was also pretty impressed with the child talent, as well, especially since, if I recall correctly, one or more of them had to be replaced last minute. I think this one is a hidden gem.

This one about night terrors made a splash on the festival circuit last year and it's quite good. Though its execution and “science” can be a little wonky, some of the re-enactments are genuinely creepy, as are some of its assertions about the very nature of sleep paralysis.

For those who grew up in the nineties, I noticed that five seasons of Goosebumps are now on Netflix. This stuff was a bit after my time, but I did ingest my fair share of Stine & Christopher Pike while working at a local book store.

There! I dare say these should keep you busy for a while. Enjoy your weekend, folks!

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Hey all. With some time now between festivals, I can catch a breather and touch on some cool things from around the Web.

Stay Tuned.

SyFy recently aired some promos for their upcoming anthology horror show, Channel Zero.

Based on stories that originated from Creepypasta (for those who don't know they are essentially online urban legends), I love that this show was filmed in Canada, since there a few popular Creepypasta tales set in the Great White North. I'd love to see an adaptation of '1999' in the future.

Mr. Bear wants to play with you.

Channel Zero, consisting of a six-episode arc entitled Candle Cove, premieres on October 11th.

My Kind of Art!

The poster documentary Twenty-Four By Thirty-Six had its premiere at Fantastic Fest a few days ago and to mark the occasion, the production released this fabulous new poster.

Artists Paul Ainsworth, Joshua Budich, Sara Deck, Gary Pullin and Matt Ryan Tobin all contributed to the above poster. I cannot wait to see it when it finally screens here in Toronto.

Good Advice.

I recently came across this Kickstarter for a Friday the 13th fan film, Never Hike Alone. While fan films are largely tedious affairs - I posted about one for Halloween that was less than ideal a few months ago - I have to admit that the teaser trailer (that originally hit the Web back in May) was impressively well shot. Take a look for yourself below.

If you'd like to contribute, check out the campaign page here. 

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Hey all. It's time to get back in the regular swing of things after my yearly trip to Fantasia. Here's what I've got for you this week.

Mirror, Mirror.

We got some great news from Netflix this week. Apparently, their pickup of the third season of Black Mirror will be premiering on October 21st. That's way sooner than anyone expected!

The six-episode season episodes will be directed by the likes of James Watkins (Eden Lake), Joe Wright (Hanna) and Dan Trachtenberg (10 Cloverfield Lane). If you haven't watched Black Mirror, you should get on that. I think it features the most cutting edge storytelling out there right now.

Freddy's Callin' For You.

Anyone over the age of thirty may remember that Freddy Krueger had a 1-900 call-in line in late-eighties/early nineties. It was about two bucks a minute and Freddy would, much like on his TV show, introduce a tale of the macabre. It was delightfully cheesy.

Well, thanks to a fourteen-year-old and his Darth Vader speakerphone, the Internet now has fourty-five minutes of those phone recordings. Check them out.

For the full story over at AV Club, click here.

A Hallowed Doc.

I found this fan film documentary called Michael Myers: Absolute Evil last week. It is essentially a doc about Michael Myers as if the events of the Halloween movies actually happened. A lot of it doesn't work, especially the added stuff that takes place beyond the canon, but there's some intriguing stuff in here. I thought the interview with Lindsay Wallace gave some cool perspective to the events of the first film, and I had to chuckle when Rob Zombie's interpretations were considered empty cash-ins of a real life tragedy. Anyway, here it is below if you're interested.

Below The Line

Last Friday, I went the other way down the highway to an art showing in Hamilton. Several prominent figures of Toronto's horror community have moved there in the last few years, and thus Steeltown has seen a rise in the dark arts as a result. 

This show, curated by artists Gary Pullin and Sara Deck, focused on pop culture, and also included the likes of Paige Reynolds, Jason Edmiston and Justin Erickson.

Gary Pullin's Scream print above is super limited edition (only 38 were printed) and the few available at the show were snapped up instantly. Fortunately, he hooked me up with an extra he had nearby, as I was there specifically to snag one for a friend. Here were some of the other great pieces.

Nosferatu by Paige Reynolds.

Batgirl by Jason Edmiston

Deadpool by Justin Erickson, Alice by Sara Deck & Ant-Man by Kevin Tong.

My favourite of the show would have to be Matt Tobin's recent interpretation of the Steven Spielberg classic Jaws.

Pardon the reflection...

This is probably my favourite double visual piece since Lauren O'Neill's rendition of Under The Skin.

The event was also to promote the upcoming poster documentary Twenty-Four by Thirty-Six. A lot of the folks that appeared in the movie, including director Kevin Burke, were in attendance and the vibe was pretty enthusiastic. I contributed the Kickstarter campaign and am pretty stoked to see it.

Mills Hardware in Hamilton, Ont.

This will likely be the first of many shows in the Hammer, as Gary is already planning to do more events in the future, with more artists involved and possibly some premieres.

And I'll be there.