THE EXHUMED FILMS 24 HOUR HORROR-THON: MECHA-TERROR VS. THE FRAGA MONSTER (Part 2 of 3)

THE EXHUMED FILMS 24 HOUR HORROR-THON: MECHA-TERROR VS. THE FRAGA MONSTER (Part 2 of 3)

In the second part of our two part preparation to spend another 24 hours in an auditorium with some of the most of the loveliest horror gurus of this modern age,  Dan Fraga took some time out of his Horror-thon prep to talk marathoning history and the shape of things to come.  First off, who is Dan Fraga? The name may be new to you if you’re outside the New Jersey/Pennsylvania area.  He is one of the four founders of Exhumed Films, a group dedicated to showing films that are less than main stream in theaters the way they were meant to be seen.  While they started off doing double features and screenings of in smaller venues, the Four Horseman of Horror have come up with a winning formula that treats fan boys and genre newbies alike to a massive infusion of  1,440 minutes of  raging horror and beyond.

  Make sure to check out our recent look at back at Exhumed’s previous horror-thons  HERE.

A little bit about Dan before we begin. Dan serves as the treasurer for Exhumed Films, but he works as an English teacher by day (hope I remembered to spell check this piece).  He shares an equal partnership with Jesse Nelson, Joseph A. Gervasi and Harry Guerro, each of whom fulfills a different role in their theatrical exhibitions.  Dan is a devoted family man and teacher who proves to us all that one can balance a life with loved ones and responsibilities to community with our absolute obsessions with the films we love. Don’t tell me I’m the first one to say that sometimes, just sometimes… horror seems to takeover our lives like an addiction.

If you missed part one in this series take a look back and get familiar with what Exhumed Films has planned for the attendees in the past and get ready for a significant dose of something that is sure to cure what ails ya. On with the horror-thon!

TERROR: What were the precursors to the horror-thon. I know there were the double features and some showings in New Jersey.

FRAGA: We started fourteen years ago at the Harwan Theatre, and that’s where we started the double features. We generally only ever did double features at the Harwan just because they would run an 8 o’clock show of whatever was playing–Austin Powers, or whatever was out at the time–so we didn’t get in the theater on Friday nights until 10:30 or 11 – that’s when we could start our shows. We would get double features and run to maybe 2:00 or 3:00 in the morning.  And then by 1999 the Harwan was going out of business (or getting ready to go out of business…I forget what happened first), and so we moved onto a theater called the Hoyts.  What was cool about that was we could start a little bit earlier, and also, I don’t even know if the upper management really knew we were there. We worked with the general manager of the theater and the projectionist was a friend of ours, so we could pretty much do whatever we wanted. We would do mostly double features, but every once in awhile we would do a triple feature.  Then in 2000-2001, we said let’s do a marathon. Like four movies in a row, and we’ll book it for two nights—like, a Friday and a Saturday. One night was Italian stuff and the other was zombie films: Day of the Dead and Return of the Living Dead and stuff like that. That went over really well, and that was our first experience with something like a marathon as opposed to the double features we had been doing.  When The Hoyts went out of business we moved to the Broadway Theatre, and that was the same timeframe as the first theater we were at, so we were back to doing double features. Then we went to the I-House in 2005.

TERROR:  How did you guys get involved with the I-House to get in there? Did you know some who went there? [The International House, a dorm/theater auditorium operating under the University of Philadelphia dedicated to showing films of all articist backgrounds]

FRAGA: We had worked with them for years on one-off things; small things because they have 16mm projection. We had a bunch of 16mm stuff that we wanted to run, but we couldn’t run it anywhere other than the International House simply because nobody else was set for 16mm.  Regular theaters would only use 35mm. So we had done a couple shows at the International House… maybe once a year. They were nice enough actually… we had this near catastrophe where in 2005 we had Bruce Campbell booked to premiere his new movie; he had just directed a movie called The Man with the Screaming Brain. He was going to come and host the show and do a Q&A and show his new movie, and we were going to do that at the Broadway. The Thursday or Friday before the show we stopped by The Broadway to drop off some flyers, and there was a padlock on the door!   Like, the owner didn’t pay his rent or the bank foreclosed on the theater, and he couldn’t even get in. The theater was shut down and we had three days and we panicked.  Oh, we were like, “Oh Shit.” We had promised Bruce Campbell all this stuff and we don’t want to look like assholes in front of Bruce Campbell, and so we called the International House. We were very lucky that they were able to move the show there on two days notice.  It still came off and it went well. We had a good crowd. From that point on we had nowhere else to go and we asked the I-House if they would be willing to let us do our stuff there, and that’s how we started with them.

TERROR:  Were they doing their own movie showings beyond classroom related activities?

FRAGA: Oh yeah, the International House has been doing repertory stuff since maybe the 70′s. I remember when we were in high school, me and Harry and Jesse from Exhumed, we were going to Halloween horror marathons. Nothing like we were showing. I remember we saw The Shining there.

TERROR:  A little more mainstream stuff.

FRAGA: Exactly. They’d show, like, crazy Hong Kong action movies. They’ve been doing their own stuff for a long time, but they hadn’t been doing it much recently. They used to do more cult and horror stuff and they had kind of gotten away from that.  They were doing more arthouse, esoteric and international films. They felt it wouldn’t be a conflict for us to come in. It wasn’t like were going to be repeating whatever they were doing. It was something different. So we have been there since 2005.

Harry and I had been talking for years about doing a marathon. And the other two, Jesse and Joe, weren’t quite sold on it. I remember one year Harry and I got together and hashed out a bunch of numbers, and we went to the other two and were like, “Look, if we can get a 24 hour span, if we can pay the theater this much…” and we just crunched the numbers. Here’s how many people we would need to get to break even. Here’s how much it would cost. All hypothetical, but we were showing them if we got a reasonable amount of people, we could probably not lose a ton of money on the show.  So we convinced them to give it a shot. We had done enough shows in the past that lost money that we knew that “Hey, if we lose money, we’ll just do it once; at least we’ll survive.”   Just like the double features.  But the first Horror-thon did very well.  Actually, I think it sold out too.  We didn’t have an online ticket sale like we do now. We just kinda hoped people would show up. Actually, I think we did do online ticket sales at the first one. We had sold about 100 tickets online like by the day of the show. And we were like, “100 people!”  We were thrilled. 100 people, that’s amazing. Then a lot more people got their tickets at the door.

The reason I talked them into it was because it was our tenth anniversary.  I was like, “Look, it’s our tenth anniversary, why don’t we do something crazy to acknowledge it and if it doesn’t work,  fine.” Honestly we were only planning on doing it one time because who would want to go to a 24 hour movie marathon more than once?  We figured it would be one time and we’d be done with it. But it went off so well, and we said we’d be idiots if we didn’t do this again.  So we said we’d try again the next year. It’s just been like that each year. Maybe the second year’s gonna fail because the first year was a fluke and the second year no one’s gonna show up…but it just kept growing.  So it’s the fifth year now.

TERROR:  I know you are guys are expanding out. Doing the VIP seating. Putting more seating up front. I know the International House did some revamping of the seats. They weren’t all that great at first?

FRAGA: Yeah, the seats were pretty rough at first.  You came around the third year?   So they had done all of the renovations by that point. You probably didn’t get to experience them. It was kind of like sitting around in those old ceramic chairs in your old elementary school; not that they looked like that, but they were as comfortable as that.

TERROR: A buddy of mine had gone a previous year was like, “Bring Pillows! Bring lots of them, you’re going to need ‘em.” And he had commented on how the renovations had made the horror-thon that much easier to sit through.

FRAGA:  The first year we did was crazy because…like anything, the more popular something gets the more restrictive sometimes you have to be. Like the first year we had asked the I-House if people could bring sleeping bags and things, and they said, “Yeah, that’s fine.”  We had assumed we would get some people, but not that the show would be sold out.  So we told people, “You wanna bring a sleeping bag, that’s fine.”  The first year it was like a youth hostel!  The whole floor in front of the stage, where we usually set up for announcements…literally people were like sardines lying in sleeping bags across the floor.  And one guy pitched a tent in the corner of the theater, so it was like a hippie commune. I remember at, like, two in the morning I had to make an announcement, and I was stepping over sleeping people to get to the microphone.

TERROR: The announcements concerning bringing in greasy food must resonate well from the beginning.

FRAGA: Before the theater was remodeled the I-House didn’t care so much either. People were unwrapping hoagies and plates of spaghetti. Korean food from across the street. It just smelled so terrible. It’s not as widespread as it once was.

TERROR: The announcement about the laptop every year… I can only imagine what spurred that.

FRAGA:  I felt bad afterwards. I was like just in such a hyped up mood, and there were such time contraints because we had figured out the running time, and we weren’t sure if we could get all this done in 24 hours. It’s one of those things where every year we probably shouldn’t show as many as we set out to, but it’s always like, “Let’s just cram one more movie in there.”  When we first started we were going to do thirteen movies in 24 hours; that’s a reasonable amount of movies, but then we were like, “Ah fuck it, let’s do fourteen movies,” because every year there are so many things we want to show. So many things we want to do. It’s painful to have to cut something, but just last year we had fourteen movies and some of them were so long that I remember Renee at the I-House was talking and I wanted to get things rolling and then I was like, “You, shut that off!” We’ve gotta get started here or we’ll never finish!

TERROR: They come off really funny, but it definitely makes sense to set some ground rules. Especially after having folks set up tents and what not.

FRAGA:  And that’s fine, but the big thing with the 24 hour horror-thon is, for some people, that’s the only Exhumed show they’ll come to all year  And that’s fine and there’s nothing wrong with that, except they’ll get excited and they’ll talk to their friends and they’ll joke with their friends. When people talk over the movies or people text in the theater, it’s a distraction.  When you have a packed house like that and people are up all night, you get cranky. You get more easily irritated so we do whatever we can to make people aware. “Don’t be a pain and don’t be a distraction to people around you.”

TERROR: Just be respectful and we’re here for the movies kinda stuff.

FRAGA:  Right. Back when we were first started, when we were younger…I don’t want to say we were antagonistic, but we were willing to be a little more confrontational. You know, we almost had fists fights before because people would talk over movies.  People would be like, “You shut the up…” “No, you shut the fuck up!”,  and we’d have to drag people out and it was crazy. We had people spit on us. It was a crazy time, and with the I-House shows people are much more sedate. People are in college and our crowd is a different crowd than what we got when we first started out, but you never know what you’re going to get.  Sometimes we still have to remove people from the theater.

TERROR: I’ve seen some of the people come in and they’re definitely a rowdy bunch… in the best way possible. They’re definitely there to see some horror flicks.

FRAGA: And that’s what I always tell them.  I have no problem with and encourage and love it when people cheer  and applaud and laugh appropriately. It’s just when people try to crack jokes or talk over the movies or talk back at the movies. That’s annoying.

TERROR:  When people ask me why I love horror movies, I tell them they have to go to a 24 hour marathon and listen to the way people cheer along with the movies or clap when somebody gets beheaded.  Or when someone gets their eye gauged out by a splinter… that’s how you’ll understand why people go to these things.

FRAGA: It’s like the person who says, “I don’t really like the Rocky Horror Picture Show,” and I say, “Well, have you watched it in the theater?” and they say no… well of course you’re not going to like it!   That’s not what it’s meant for!  But you can make the case–whether it be horror or any movies—that they’re meant to be enjoyed with a crowd.  For instance, I teach a film studies class, and I’ll say to my students, “How many of you have ever gone to a movie by yourself?”  Maybe one kid raises his hand.  Then I’ll ask, “Well, how many of your have watched a video by yourself?” and everybody raises their hands. Ok, what’s the difference?  And they can’t quite put their finger on it, but there’s a different dynamic in seeing something theatrically.  It’s meant to be enjoyed with other people.  When we first started Exhumed, a lot of the stuff we were showing wasn’t available on VHS. It was never released. We started before the real surge, prevalence of DVD’s.  DVD’s didn’t really get big and catch on until 1999, 2000, 2001.  So when we first started you couldn’t see many of these movies anywhere else.  Now you can see pretty much everything we’re showing on some import DVD somewhere, but it’s still not the same as coming to see it with a crowd.

TERROR: I gotta say, seeing Tales from the Crypt 2… ya know, the Vault of Horror…on the big screen just blew my mind. I couldn’t believe I was watching it on the big screen.

FRAGA: When people come they want and expect the big films and the slasher films, and we’re happy to show them.  But it’s also great to show people something that you’ve never seen or that you’ve seen but you haven’t really seen it in the right environment.  Maybe you half pay attention and fast forward it, but here you’re forced to pay attention with a bunch of other people.  It makes a difference.  Like most of people in the theater, if Tales of Crypt 2 was on cable they’d pass it by, but when forced to watch it, focus on it, you really see things you might otherwise miss out on.

TERROR: Where are you able to get copies of things like that? That must be a fairly rare print, I would think.  I know it went through a name transition. I don’t know if it was shown in the States as the Vault of Horror or if it was just released differently in England.

FRAGA:  I think that was a UK print.  All of our prints come from either studios that maintain them or private collections. We’re very fortunate that over the years we’ve always reinvested in Exhumed Films.  I always joke about the time that we had Bruce Campbell at a show (not the one previously mentioned, there was another time we had Bruce Campbell at a showing for Evil Dead II and it was ridiculous…this was when we were at the Harwan Theatre)…we had sold out. The Harwan was an old Vaudeville house. It seated close to 700 people and we sold it out.  So anyway,  we had almost 700 people, and there was a girl walking around and she was talking to her friend and she was talking about how she didn’t have a job andI heard her say she was going to apply for a job with these Exhumed Films people and see if they’d hire her.  As if we were a company that had a staff and employees and such.  Which is ridiculous, because there’s just the four of us in Exhumed. We’ve never really taken money.  Any time we make money we put it in a bank account, and then when something crazy comes up, like if Harry says, “There’s a guy in the UK selling a print of Tales from the Crypt 2 and its $500,″ well, we’ve got that because we made $500 on the last show.  We put it in the bank and now we’re going to use that money.  So doing that for fourteen years we’ve amassed a pretty fair collection of stuff ourselves.

Some things the studios have the rights to and you have to get from them. You may have to pay the rights to some guy…the studio doesn’t own it but, for example there’s this guy Alfredo Leone who owns the rights to Mario Bava films.  So if you want to show a Mario Bava movie you have to contact him.  And sometimes you’re going to Warner Brothers or Paramount.  And other things are just kind of nebulous…like, who owns Children Shouldn’t Play with Dead Things? The company that produced the movie went out of business thirty years ago!  Someone might own the DVD rights rather than the theatrical rights.  Some of the stuff you show is public domain. The people that own it don’t exist anymore…but you have to be very mindful of what you’re showing. Make sure the proper people are being paid and make sure you’re not doing anything illegal.

TERROR: There’s that wonderful little warning before all our movies that say not to display these films without permission. Sounds like there can be a bit of detective work at times.

FRAGA: It can definitely be fun.

TERROR: Seems like you can learn a lot about a film by researching the distribution rights or the exhibition rights.

FRAGA: It is fun, and it is like detective work. And it is a bit like archaeology, to an extent. You find these things, and you don’t know what they are until you look at them.  One of our favorite stories is Harry bought a movie one time and he said he didn’t know what it was, but he had to buy it. It was called Revenge from Planet Ape. What the hell is that? It’s not a Planet of the Apes movie.  It didn’t say Revenge from the Planet of the Apes, it said Revenge from Planet Ape, so he bought it and it was like $50 for a 35mm print.  And we went to take a look at it, and its actually a print of Tombs of the Blind Dead, but they tagged on…whoever distributed the movie, bought Tombs of the Blind Dead, and they tagged on the title obviously, and then they tagged on some ridiculous narration at the beginning of the movie basically saying something to the extent of : “Thousands of years ago a race of super intelligent apes lived on our planet, but then they were killed by humans, but now they apes have come back from the dead to seek their revenge.” So the movie was positing that Knights Templar from the Blind Dead movie were zombie apes! And it was obviously just somebody trying to capitalize on Planet of the Apes. So it must’ve been ’74 or ’75, and the distributor is thinking, “We’ll just call it something similar to Planet of the Apes and people will come to see it and we’ll get whatever money we can out of it.”  So it’s crazy stuff like that… when they originally released the Blind Dead DVD box set, Harry sent them the print, and one of the extras is you can watch this ridiculous intro from Revenge from Planet Ape.

TERROR: I know you guys usually get together to discuss what you’re showing.  What are you guys usually drinkin’?

FRAGA: Yeah we get together every year. It’s like a tradition.  We go to the Belgian Cafe or to Monk’s Cafe in Philly, and they’ve got great Belgian beer. It’s nice to sit down and, rather than do it over email, we sit around and talk. It’s often hard for us to get together outside of Exhumed shows, for the four of us to get together.  So we’re all gonna come together and we’re gonna have a couple beers and think about what would be fun to show.  Everyone comes with their prepared list… so it’s this this and this.  And then it’s, “Well, I know where we can find a print of this,” or “I don’t think this movie is even available.” It’s a fun process because by the end of the night we have a list of 20 to 30 movies and we say here’s what we really would like to show, and we narrow that list down to fourteen.  There’s negotiation.  Somebody’ll say they really really wanna show a movie, and another one will say I really really hate that movie, but I’ll let you show that if you let me show this one.  It’s like a bartering session. It’s all in good spirit. We’re all usually in agreement. There are some movies that I say, “I love that movie, I just don’t think it’s going to play well at a 24 hour marathon.”  It is just a matter of negotiation.

TERROR:  How were you guys able to get a hold of a copy of The Dead? I know this is the first time you’ve announced a film at the 24 Hour Horror-thon ahead of time

FRAGA:  I first started reading about it last year. We’re pretty friendly with Tim League who runs the Alamo Drafthouse in Texas, and Tim ran it last year for Fantastic Fest, which is a month long festival of horror and cult stuff that he does.  Pretty much all new stuff.  He said it’s really cool.  We said it was something that we’d really like to show and Tim put us in touch with the distributor, producer and director of the movie. And we told them that we’d really like to show this.  We actually wanted to show it during the summer and–long story short–it’s coming out, theatrically in the US in October, but mostly rolling out in November. Right around Halloween. The producer said, “Your Horror-thon is a captive audience of people who really like horror and we really think they’ll like The Dead, and the hope is you’ll generate more positive word of mouth.”  It’s going to open in Philly a week or two after the horror-thon. So the idea is we’re going to have Philly press people at the Horror-thon to see it. Bloggers, etc. and in the time leading up to its release we’ll be able to spread the word. It’s pretty cool. That’s not to say that you have to spread the word if you don’t like it!

TERROR: The trailer looks incredible. I think it also is the right choice to announce it. It prepares the audience for a newer movie because usually the Horror-thon is full of a bunch of older stuff.

FRAGA: I think a lot of people have been anticipating this and it is a newer movie. It’s opening the week before in New York and we wanted people to know they could see it with us as opposed to driving to New York the week before.  If somebody really wants to see this movie and they drive to New York and then we surprise them with it a week later, they might be upset.

TERROR: How did the VIP passes sell this year? It’s something new to this year’s horror-thon.

FRAGA: They all sold out. We didn’t know how quickly they’d move.  We had people contacting us saying that they were coming from twelve hours away, and it would be nice to know that they had a guaranteed seat. People were saying, “I have to travel all this way and then I have to show up at 8 am to get a decent seat. It would be nice to know that did not have to do that.”  Like we said in the FAQ, this idea was brought to us by audience members. We had never considered it but we said we’d give it a shot. It was never intended as a way to make more money off of people, which is why we kept it really limited. I think we put up fifty seats.  So we’ll see what happens. We weren’t sure if it would go within an hour, but it took about a week. Hopefully the people that were asking took advantage of it and, we hope they are pleased by it. Because it is a limited number of seats it shouldn’t impact seating too much.

TERROR: Have you guys ever thought about exploring film production or distribution?

FRAGA: No, not really. I think most of us aspire to that when we’re younger and there’s always a part of you that would like to get more creatively involved, but realistically…not to sound cynical, but I’m not really crazy about a lot of the independent horror that comes out. I don’t think a lot of it is really well done. Obviously there are exceptions: The Ti West stuff. Please don’t take this the wrong way, if this is your passion. People say, “I made my own zombie movie.” Well that’s great, but I find much of that is not to my liking.  The result is, I don’t want to be that. I don’t wanna put my heart and soul into something and have it come out to be crap!

TERROR: Everybody who can make a film shouldn’t necessarily make a film.

FRAGA: Exactly. We’ve got the great democratization of media now, but…again, I’m not trying to sound like a jerk. It’s just I’d rather… I’m kind of nostalgic. Exhumed Films for me is a creative endeavor. I’m not making movies. I feel like we’re making events. That to me is rewarding.

TERROR: I think your audience feels the same way. At least from my perspective, it’s a performance. The way you organize the movies is perfect. Some of the movies, like Raw Force at two in the morning, that’ll liven up a crowd. Definitely puts people through a ringer of emotions.

FRAGA:  That for me is a creative outlet, and as a result I don’t feel the need to make my own movies…

TERROR: Make the next Boardinghouse.

FRAGA: There’s something to be said for that. That guy’s a genius in some respect!

TERROR: Having seen that at Exhumed, I never realized that something like that was really possible.

FRAGA: It’s kind of like a fever dream. I’m not sure how much of that movie really happened and how much of that was imagined.

TERROR: When you were a kid, how’d you get into these movies? Is your passion more exploitation stuff? It is pure horror? Do you love it all? Is there something really embodies the spirit of the marathon?

FRAGA: Absolutely. For me, the most defining thing was when I was 4, 5, 6 years old, before VHS, or at least before every household had VCR’s.  Growing up, I loved monster movies– specifically Godzilla and Universal Monster movies. I don’t know where it came from. I can’t point to when I saw my first horror film, but it’s always been there. My parents said, for as long as I could talk I was talking about monsters.  My father was not a very indulgent father, but in this respect I am grateful to him: he used to get the old 8mm, Super 8, little Castle Film shorts. They would take movies and they would condense them.  For $7 or $8 dollars you could buy a seven minute, silent version of Bela Lugosi’s Dracula or Karloff’s Frankenstein. They would literally condense it to the Cliff’s notes version. They would give you most of the story in seven minutes. And it surprises you… even though it’s only seven minutes long, it is still a complete story. You can go on Youtube and find the Castle Films. My dad would show them at my house. He would play them for me.  He would go to the store once a month and we would get to buy one.  We had Dracula, Frankenstein, House of Frankenstein, in seven minute movie form. My dad would play them for me and we would watch them over and over and over. Ever since I can remember I’ve been obsessed with the Universal Monsters and Godzilla, and as I got older I got more interested in the splattery stuff and the gore stuff, slasher films. In my heart. I will always have a soft spot for the old monster movies. So at every horror-thon, the second movie will always be a giant monster movie.  The others are fine with it, but that’s my one caveat that we must do a giant monster movie every year.  That’s like my one nod to childhood. The Godzilla movies.  The Mighty Peking Man.

TERROR: How did the Exhumed Films lead in come about? For me it’s not a horror-thon until I see that. It’s really impressive (see previous recap of the Exhumed Horror-thons for the clip)

FRAGA:  There’s a guy Justin who is a good friend of ours and he’s come to a lot of our shows for year. He does the posters for the show and the program. He does the art show in the lobby. It was Justin and another friend who made the old school bumper for the horror-thon. I remember the first time we showed it. We were getting ready to start the show and the guys were getting ready to put this in the video projector and play it before the movie and I was thinking, “Christ, enough already!  I want to start the movies!”  And then it ran I was like, “…oh shit, that’s really awesome!”  It was totally worth it.  Now we just run it every year. It’s got that 70′s feel. I hate to use that cliche, but we’re trying to re-create that grindhouse feel.

TERROR: Thanks for talking with me today and going through Exhumed Films history. We can’t wait to figure out what the next Raw Force or Lady Terminator will be.

FRAGA: It’s gonna be a pretty crazy show this year. I’m not saying that everything is going to be Raw Force. There’s only a handful of movies that even come close.  I think Raw Force is by far the craziest thing we’ve ever shown. I’m just amazed by that movie.  But if you look back over the last few years we’ve always worked in some pretty popular titles.  The first two years we had Hellraiser, Phantasm, Re-Animator… a lot of stuff that people love…An American Werewolf in London, some of the more mainstream stuff. We made a vow for this show that we were not going to show anything we had shown before. Everything we show is going to be brand new. If you look back…we’ve been doing this for fourteen years, we’ve shown every major horror film. I don’t think you could point to a single major horror film we haven’t run, except for maybe The Shining, which I feel is a bit overplayed: Evil Deads, Dawn of the Dead, Night of the Living Dead. So the fact that this year we’re not showing anything that we’ve ever shown before means you’re not going to see anything really predictable. You’ll still see things that you’ve seen before, but it’s not going to be any of the main stream stuff, like Elm Street 3 or any of that stuff.  We’ve done all those. There’s nothing left to surprise people with. Instead we’re going to create something not necessarily obscure, but unique and underplayed instead.


End Notes:

One of the things that Dan and I were talking about was that ANYONE with the dream of a horror-thon can put something together. It’s not impossible, and they’ve assisted folks in the past with getting their theatrical showings up and running. It’s something to really consider doing if you’ve always wanted to do it. The horror community supports these types of screenings. We all want to see some of the great horror classics on the big screen and we really want to show others our favorite movies because that’s what horror dorks do. We force our family to watch the worst films we can find. We love to see them run for the bathroom or spit soda out of their nose.  I guess you can just think Rocky Horror and “Don’t Dream it. Be it”.  Sing that a few times, throw some rice in a theater and get cracking on your own project.  Exhumed Films can inspire us all.

Also, I wanted to include the Jumpcut Junkies segment praising Exhumed Films fourth horror-thon. These guys are intense and impassioned. The best kind of horror fans to be certain.

If you don’t have tickets, this year’s festival, Part 5 A New Beginning, is sold out. We will recap the show and give you all the juicies that you missed. It takes place October 29th to the 30th, so keep your eyes peeled shortly after that in part 3 of our 3 part series.

 

 

Written by Jimmy Terror  who can be found at Dr. Terror’s Blog of Horrors


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Dr. Jimmy Terror, more commonly known as James P. Harris, has been “writing your eyes” shut since 2010 with his horror themed blog Dr. Terror’s Blog of Horrors (whose name is a play on words derived from the Amicus film, Dr. Terror’s House of Horrors). In the early 2000’s he fronted the band The Vaudeville Vampires, a short-lived Horrorabilly band which saw the creation of a catalog of horror related songs before disbanding (with only one, six song demo ever being produced and distributed). He has had only one on screen appearance to date in the horror/suspense short, Ocean Parkway, as maniacal, gloved killer with a hair fetish. Having done some un-credited, behind the scenes work in some low budget genre pictures, he is currently working on his first foray into screenwriting with a demonic, retro gore entry that pays homage to Lucio Fulci, Dario Argento as well as other Italian masters of the genre.

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