"Searchers after horror haunt strange, far places." ~ H.P. LOVECRAFT
Author: David Edward Johnson
A bit about me ::
My name is David Johnson. I'm a senior creative with over 20 years of experience. I am currently serving as the Director of User Experience and Product Design at Inmar. Previously, I have served as the Global Digital Creative Director for Whole Foods Market, several agencies at the VP level and co-owned my own agency in New York for seven years.
I love genre film, a full range of music, art, kung fu, TM, design, good food and a great joke. I'm based in Austin, Texas and addicted to BBQ.
Last year, I celebrated this, the spookiest of seasons, with a 31 day art project called “One Foot in the Graveyard.” Really, the tagline says it all: “31 DAYS, 31 WALLPAPERS, ONE SCARY SEASON.” The goal was to give my fellow denizens of the dark something new each day to bring a touch of this most horrific time of year to their work-a-day lives. The site turned out to be something pretty cool, too.
Here are just a few faves at thumbnail size from the collection ::
It’s really worth checking the whole deal out at the site.
I continue to have internet issues, but I’m trying to get back on track here. I’ll tell you, data connectivity is a racket.
I wanted to share another great horror short entitled “Cargo.”
Ben Howling and Yolanda Ramke have done something really notable with these 7 minutes — they have created real emotional resonance in not only a short-format piece, but also with a zombie infection story. Their approach transforms the film from something that is very expected into a piece that is truly memorable with a universal message of unconditional love. AND, I love the way it’s shot. Very nice choices all the way around. Enjoy!
Anyone who knows horror knows John Carpenter. His contributions to not only the horror genre, but also the world of film at large are nothing short of landmarks. He has truly given us some of the most memorable film experiences of the past 40 years. His work as a director on films like the great psychological masterpiece,”The Thing” or the genre-defining “Halloween” stands alone.
For this post, I wanted to pay homage to another aspect of Carpenter’s talent… The role of composer.
John Carpenter has 22 credits to his name as film score composer on IMDB. That’s a heck of a record for one who’s primary focus is that of director. That alone is amazing.
But what really makes Carpenter so effective as a composer is the skill with which he uses musical progressions to create mood for film THROUGH composition. He has given us some of the most moody, and dare I say, chilling music in film. I would put his work for “Halloween” or “Prince of Darkness” up against any of the greats like “Jaws” for sheer effectiveness and memorability. When you hear that music, you feel something and you don’t forget it.
Here are a few classics. I’ve pulled just a few examples here, but legendary ones. Listen to these ::
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From “Halloween”
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From “Prince of Darkness”
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From “Christine”
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From “In the Mouth of Madness”
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Mr. Carpenter… I remain in awe of ALL of your prodigious talents. Thank you for all of the aural chills.
As you may be able to tell, I love great poster art, but especially posters from the great horror movie cannon. This is the second installment of my countdown of the best of the genre.
Here’s how I selected the list. I used three main criteria to shape my decisions ::
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>> DESIGN / IMAGE — This is the baseline. As a designer by trade, I feel strongly that any great or effective poster HAS to start here. Is the poster effective as a piece of art? Is the poster is a strong representative of the art of graphic design? Did it capture a particular spirit or movement in design?
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>> TITILLATION / PROMOTION — Though we tend to contextualize film and the associated collateral as “art,” it is ultimately a form of commerce. Any movie poster has to promote the film it supports either through a delicious tease or overt sales pitch. How effective is the poster at selling the film it is tied to?
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>> IMPACT / LEGACY — Sometimes even mediocre films get truly great posters. Sometimes, we even remember the image of the poster far longer than the film itself. What was the lasting effect of the poster? Was it iconic or timeless in some way? Was a part of a larger context?
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Every poster on this list is a cocktail of the above elements, mixed in different ways. All successful in their own right. Let’s jump in to 45 >> 41…
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2007
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1920
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1972
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2012
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1960
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Look for Part III, coming right up!
Special thanks to http://www.impawards.com for many of the images in this countdown. AWESOME site.
Sorry for the silence for the past days. I have just (mostly) completed a move with my family and we’re still without solid wi-fi. I’ve now figured out cellular tethering to get things back up-and-running until I get cable service set up. Enough about that… BACK TO BUSINESS…
Today, I wanted to share a really stylish animated short called “The Backwater Gospel.” It’s got a very artistic, textural feel and it’s devilishly ghoulish. Enjoy!
Slasher genre-bender “You’re Next” opens nationwide today. I have very much been looking forward to this film. You can read my film preview here.
In that preview, I mentioned a very talented gent helming cinematography on the film, Andrew Droz Palermo. I caught up with Andrew this week and got his thoughts on “You’re Next,” working in the horror genre and cinematography at large.
STRANGE FAR PLACES (SFP) :: How was it working on “You’re Next?”
ANDREW DROZ PALERMO (ADP) :: Shooting the film was an amazing experience. I’m forever grateful to the director Adam Wingard, and the producers Simon Barrett, Keith Calder and Jess Wu for even giving me the chance. Particularly for a first-time cinematographer.
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SFP :: I have always thought that working on a film like “You’re Next” (especially one so stylish and smart) from the horror genre would be a blast. What was the coolest thing about it?
ADP :: Shooting the kill scenes and jump scares were a blast. Adam was really specific about what he wanted and we were able to storyboard out key scenes to really make them sing. I loved seeing them edit together in my head, knowing we were getting all the pieces we wanted, and that it was going to make some really fun scenes. I also could just sit and listen to Joe Swanberg and A.J. Bowen riff for hours. Those guys are amazing actors, but also just so, so funny.
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SFP :: What was the toughest thing aboutworking on this production?
ADP :: The toughest for me was getting everything we needed within the time scheduled. With ten characters in a scene, there are a million things you want to shoot, and I wanted to give Adam enough coverage so he could edit it together in the way he imagined. Thankfully the camera, and G&E team was really hardworking and fast and that allowed us a lot of time shooting, with very little downtime in between setups. Plus, it was like 25 nights straight of shooting from 8 PM to 8 AM.
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SFP :: You had some experience working in horror before with your work on “V/H/S.” Do you like working in the genre? Are you a horror fan at all? Will you do horror again?
ADP :: I love horror film, and have had a great time shooting it. I’m certainly not as versed in the genre as Adam and Simon, but I feel like I’m in the horror section of Netflix pretty often. I’d love to shoot some again, I’ll start reading scripts for 2014 in the next few months.
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SFP :: What films were the most influential on you as a visual thinker and storyteller?
ADP :: For “You’re Next” Adam and I looked at a lot of action films. The film has more of that pedigree than it lets on, I guess. Or maybe it was what we wanted to brush up on the most, perhaps what we were most unfamiliar with making ourselves at that point. I think our biggest visual touch point for the film was “Michael Clayton.” It’s a weird one to pick, because it doesn’t seem related, but that lighting in that film is just so beautiful and dark, and the camera is always so deliberate. The Dardenne brothers are always a big touchpoint for me. I love their stories and the manor in which they tell them.
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From Michael Clayton ::
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From the Jean-Pierre and Luc Dardenne ::
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SFP :: What else should we be watching out for from you?
ADP :: I’ve been co-directing a documentary for the last couple of years with my cousin Tracy Droz Tragos called “Rich Hill.” It follows three kids coming of age in rural Missouri. We’re really excited with the progress, getting ready to launch a Kickstarter, and are nearing picture lock – fingers crossed we’ll be premiering in early 2014.
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SFP :: THANK YOU!
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A VERY special thank you to Andrew for his time. SEE THIS FILM!
Welcome to Part III of my tribute to hollywood (and hollywood horror) legend Roger Corman. I am creating an 8 poster series in tribute to Corman’s early-1960’s “Poe Cycle,” where he brought classic stories from the EA Poe cannon to film. You can read Part I here, with my actual article on Corman and view Posters I and II there as well. Part II can be found here.
Again, a big THANK YOU to Mr. Corman for all he has done for film and horror-lovers everywhere.
FILM :: VAMPIRE CIRCUS
YEAR :: 1972
DIRECTOR :: Robert Young
“Vampire Circus” is Hammer Films at the studio’s most titillating.
Plagues… Check. Vampires and hunters… Check. Buckets of blood… Check. Heaving bosoms and beau-brummel beafcake… Check. Shape-shifting hotties dancing naked in only tiger striped body paint… Check. Yes, “shape-shifting hotties dancing naked in only tiger striped body paint.” Honestly, the scene has become rather legendary…
Cartooish? Yes.
A bit bizarre? Yes.
Fun? Unquestionably.
Made after the departure of William Hinds from Hammer and in a reaction to the more “edgy” content coming out of France and Italy (See my review of “The Bloodsucker Leads the Dance.”), the declining studio icon felt a need to bring more edge to their own output to reattain relevance. This film is a great example of that push.
For all of its supposed edginess, “Vampire Circus” is not without intelligence and artistry, though. Really, I consider it one of the last great films to come out of that era of the studio. You have got to hand it to director Robert Young, here. He shows a sure-handed skill for storytelling, but also gives us nods to au courant art-film fare for the era, making artful stylistic and cinematic choices that give the film a decidedly surrealistic flair.
Looking for something with real bite and worried about a vintage film in that regard? Fret not. Even modern audiences will be surprised by the gore in this film. Made in 1972 and the film is truly imaginative in its sanguineous machinations. A bloody classic.
Films like this are just a romp and this one is a hoot. In all, “Vampire Circus” is an archetypal “mondo-horror” piece that shouldn’t be forgotten.
This is the fifth installment in a continuing series calling out songs that should be in every horror fan’s running (or exercise) playlist. For this installment, it’s about everyone’s favorite crazies, those sociopaths that simply want to end your life.
On with the dark tuneage. ::
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13
“Lunatic Fringe” — Red Rider
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This is PERFECT for that night run. Tom Cochrane actually wrote the song about the resurgence of anti-Semitism in the 1970s. In a weird twist of fate, he recorded the demo for the tune on the evening of John Lennon’s murder. How apropos. From the 1981 album “As Far As Siam.”
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14
“Psycho Killer” — Talking Heads
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David Byrne said of this song :: “When I started writing this (I got help later), I imagined Alice Cooper doing a Randy Newman-type ballad. Both the Joker and Hannibal Lecter were much more fascinating than the good guys. Everybody sort of roots for the bad guys in movies.” He did have help.. From bandmates Tina Weymouth and Chris Frantz. An absolute late 70s classic!
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15
“I’ve Committed Murder” — Macy Gray
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I have always loved this one. A bit of island influence from the inimitable Macy Gray. A torrid tale of murder with a sociopathic disregard for the victim. This is the groove for distance miles.
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Get out there and do it (he says more for his own benefit than anything)!
As you may be able to tell, I love great poster art, but especially posters from the great horror movie cannon. Welcome to the first installment of my countdown of the best of the genre.
Here’s how I selected the list. I used three main criteria to shape my decisions ::
======
>> DESIGN / IMAGE — This is the baseline. As a designer by trade, I feel strongly that any great or effective poster HAS to start here. Is the poster effective as a piece of art? Is the poster is a strong representative of the art of graphic design? Did it capture a particular spirit or movement in design?
—
>> TITILLATION / PROMOTION — Though we tend to contextualize film and the associated collateral as “art,” it is ultimately a form of commerce. Any movie poster has to promote the film it supports either through a delicious tease or overt sales pitch. How effective is the poster at selling the film it is tied to?
—
>> IMPACT / LEGACY — Sometimes even mediocre films get truly great posters. Sometimes, we even remember the image of the poster far longer than the film itself. What was the lasting effect of the poster? Was it iconic or timeless in some way? Was a part of a larger context?
======
Every poster on this list is a cocktail of the above elements, mixed in different ways. All successful in their own right. Let’s jump in…
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1969
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1975
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1981
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1981
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1974
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Look for Part II, coming right up!
Special thanks to http://www.impawards.com for many of the images in this countdown. AWESOME site.
Welcome to Part II of my tribute to hollywood (and hollywood horror) legend Roger Corman. I am creating an 8 poster series in tribute to Corman’s early-1960’s “Poe Cycle,” where he brought classic stories from the EA Poe cannon to film. You can read Part I here, with my actual article on Corman and view Posters I and II there as well.
Again, a big THANK YOU to Mr. Corman for all he has done for film and horror-lovers everywhere.
Without further delay… The Posters — III and IV ::
So much credit has been given to The Misfits over the years, that another band, equally important and also formed in the same period, is often overlooked for its contribution to the horror rock genre. There is absolutely no question that The Misfits were founding fathers of the “Horror Punk” scene as I detail in Part III of this series. But let’s take a moment to pay homage to a early progenitor of the “Psychobilly” scene who brought the horror in a highly influential way that puts them firmly as the other bookend to this four part series :: The Cramps.
Formed in the mid-1970’s (before The Misfits, actually) in Sacramento, California by Lux Interior (born Erick Lee Purkhiser) and Poison Ivy (born Kristy Marlana Wallace), The Cramps quickly relocated to find a home along side of legendary acts like The Ramones, Patti Smith and Television at iconic New York clubs like CBGB’s and Max’s Kansas City.
The Cramps struck their own profile among the emergent punk / alt scene, living at the intersection of trashy Americana, sexual fetishism and cheap, horror B-movie clichés. The result was a devilishly clever mix of humor and shock. The shuddering, strutting, cross-dressing Lux Interior cut the aspect of the perfect front man, backed by Ivy’s guitar, an important female icon on the early alt scene. These elements, coupled with songs like “I Was a Teenage Werewolf,” “Zombie Dance,” “Human Fly,” “Aloha from Hell,” and “Surfin’ Dead” and imagery surrounding the band straight out of teenage horror film classics all added up to a potent cocktail of horror rock power.
As a creative professional with a focus on design and as someone who has ever-harbored a deep love for the trashier side of Americana, this collective image remains captivating today as much as it was when it was hatched. Though the band changed personnel over a long career, they never lost sight of their image.
What makes The Cramps is most interesting for me, however, is the music itself. More than any of the other acts on this list, The Cramps pushed stylistic boundaries. Early on, the band used a double-guitar-with-no-bass sound giving them something truly distinctive among their peers. Also, they were not defined simply as a punk artist, creating instead, a fusion of punk, surf and rockabilly that formed an early example of “psychobilly.” This fusion is what makes the band still so fascinating to me. Listen to these classics to get a sense of the sound ::
In 1978, the band gave a landmark free performance at the Napa California State Mental Hospital. What an idea! It takes Johnny Cash’s prison performances and actually one-ups them, transplanting the original idea into a decidedly proto-punk space. It’s TOTALLY worth watching the full performance. It’s a great setlist and you can see the band at the height of their electrifying powers ::
Look at these image materials as well. I am lucky enough to have the Alan Forbes piece featuring The Bride of Frankenstein (with the whip) shown below as a part of my personal art collection. I keep it in my office as a reminder to bring disruption to my creativity in the way The Cramps did.
Horror fans, join me and pay tribute to the glorious trash brilliance of The Cramps!
This also brings to a close my exploration of the founders of the horror rock genre. All of these artists are true mavericks who remain vital today. My hope is that you will explore each of them beyond this introduction. Turn it up and feel the chill!
I recently featured a series of paintings by master horror artist Les Edwards. I wanted to follow up with another showcase of his work featuring a particular project, his adaptation of “Rawhead Rex,” from Clive Barker’s “Books of Blood.” When bringing something to life that exists only in words and mental images, I feel the best adaptations bring the artist’s imagination to bear on the project in a fundamental way. Think of the iconic hockey mask for Jason Voorhees. Many people forget that the mask doesn’t make an appearance until 2/3 through “Friday the 13th Part III.” It was director Steve Miner who saw that the hockey mask originally had potential and asked his team to bring it to life on Jason himself. It would be impossible to now think of the character any other way, the mask choice so defined the image of Voorhees in our collective consciousness. Edwards has brought his vision to bear on the Rawhead Rex character in the same way in this graphic novel.
I LOVE the look of this adaptation. It was not influenced by the look of the 1986 film and the new ground it breaks is just perfect. Apart from the apparent masterful artistry of the illustrations themselves, there is a ghoulish delight in the approach here. I have always thought the concepts in the original story were very strong, and felt that the film was a very halting realization at best. This version really brings the story to life. I would absolutely love to see a new film based on this vision for the story. If the great film gods are listening, you would make one little horror blogger a very happy man, if you would oblige.
THE STRANGE, FAR PLACES 
