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I promised a few words about the script for The Crazies remake.
Before I start, let me just tell ya: I grabbed some shut-eye in van to the Atlanta airport and it felt fuckin' great. The whole reason why I'm back here - with Paul from Dread Central, I should add - is because I'm supposed to pick up Rob G. from Icons of Fright. Of course, when we get here, I get a text to learn his flight is delayed or something... My brain is a bit scrambled. Foggy. All I know is that we're here for another four hours and trying to find a power outlet to plug in my laptop is a futile a task as trying to find precious gasoline in The Road Warrior. So, back to the script...
Nearly 24 hours have passed since my first travel blog entry. Over that time, I took a packed flight to Atlanta, Georgia where a two-year-old in front of me screamed a good portion of the time, so my anticipated three and a half hours of sleep I hoped to get (after being awake for 24 hours straight) got crushed to a measly two. I'm still awake, burning on reserve energy I thought I'd lost a while ago.
Pretty early here at LAX. Security was a breeze. Finding a breakfast burrito to inhale was easier. At gate 58. Surveying the other passengers. There's a dude that looks like Santa Claus. Another who looks like Fred Gwynne sans the Munster make-up. A soldier. Teeny-bopper twins. They're creeping me out.
I'm taking a Delta flight out of Los Angeles direct to Atlanta, Georgia this morning barreling head-first into a three day cyclone of set visits. I've never done two back-to-back, but for some reason there are actually three shooting in the state: Zombieland, The Crazies and Rob Zombie's H2. I'm doing the latter two. Ed Douglas from ComingSoon.net covered Zombieland for me earlier this month.
Check out this schedule I have...
So, the Hollywood machine's gears get rolling again today as publicists, producers and everyone I deal with on a day-to-day basis scrape the Jack Daniels off their tongue (or whatever their holiday drink of choice may have been), put on their game face and return to the office. The horror news funk we've all been in will be lifted and things are about to get busy. I used the last two days to figure out what to do with Shock. The lack of news breaks from the trade papers during the holiday season forces you to get creative, think about other avenues of coverage, and one of the things I want to do in 2009 is crank out some more editorials.
Tonight was one of those nights where I didn't want to do shit.
No work. No cooking. Nothin'.
Maybe toss on a movie or two (HDNet's been spinning Friday the 13th parts 3 - 5, I'll take 'em), eat this bowl of chili I bought and relax. Then I thought, "Shit, I haven't churned out a blog in a while." But I'm in no mood to scribble down a retrospective on what went down in 2008. Don't get me wrong, there are things I'm thrilled about that happened in the last twelve months (like ShockTillYouDrop.com's huge leap in traffic in its sophomore year, the traveling I did and, of course, meeting Micheline), but my brain is already licking at 2009. Getting a taste before it takes a big ol' chomp and commits to the tasks at hand. There are things to be done, after all. Like this book project I've been kicking around. Like moving into some new digs. Sorting out where I want to take Shock.
The 2008 Autopsy Report is a month-long look at the year in horror. An unflinching and frank examination of the genre's accomplishments, lapses, trends and random (or, rampant) stupidity in the big screen, television and direct-to-DVD world. This weekly series will sift through the detritus of the last twelve months and see what worked and what didn't, why and why not. Ultimately, the Autopsy Report will culminate in our year-end best and worst of 2008 list.
Showtime cornered the market on televised horror anthologies in 2005 with Masters of Horror. The series survived two seasons while TNT tried Nightmares and Dreamscapes on for size siphoning from the always reliable Stephen King well. Interest in small screen anthologies was stirring. This year, horror fans got NBC's Fear Itself. The thirteen episode summertime series promoted heavily in the second quarter of 2008 kicked off on June 5th to mixed reviews and ratings that could not best contender Swingtown over at rival CBS. Despite the network's suspect positive response in the trade papers boasting the show's opening performance, Fear Itself's ratings were unimpressive yet steady through its run to July 31st when it took a break after its eighth episode Skin and Bones. Then the Olympics coverage began followed by the onslaught of news-grabbing political election exposure. Fear Itself never returned and, at the time of this writing, five episodes remain produced yet missing in action. Airdates unknown.
Dear Warner Bros.,
Happy Halloween. I hope you've got a cool costume picked out for today. The hip guise to wear seems to be the Joker this year. Purple suit Joker. Nurse Joker. Cop Joker. Guess we got you to thank for that. But that seems like the obvious route if that's what you went as, so on second thought, find something else. It's too early for anything from Watchmen. Iron Man, perhaps?
Look, the reason I'm writing is because you have a good film on your hands. A great film in fact. It's called Trick r' Treat. Maybe you've heard of it? I know, I know...that was sarcasm, but you're acting like the movie doesn't exist.
Traveling works up my appetite. And being on a film set satiates that hunger in the most expedient way possible. Shadowing the set of Clive Barker's Dread is no different. The food is everywhere, but because this is England, the choices are different. Instead of cookies, you get "biscuits." Tea is the norm over coffee and the breakfast sausage is incredible. Day two of my set visit began with two servings of eggs, bacon, sausage and toast. I couldn't help it...
Hello from England. Yes, ENGLAND. I knew someday I'd say that, but not this soon. And certainly not on such short notice. It was around last week that I got the call from one of Clive Barker's producers inviting me to fly out to visit the set of Anthony DiBlasi's Dread. I wasn't going to say no to the opportunity.
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