GLASS EYE PIX Sizzle Reel The Larry Fessenden Collection DEPRAVED BENEATH THE LAST WINTER WENDIGO HABIT No Telling / The Frankenstein Complex ABCs of Death 2: N is for NEXUS Skin And Bones Until Dawn Until Dawn: Rush of Blood FOXHOLE The Ranger LIKE ME PSYCHOPATHS MOST BEAUTIFUL ISLAND Stake Land II STRAY BULLETS Darling LATE PHASES How Jesus Took America Hostage — “American Jesus” the Movie New Doc BIRTH OF THE LIVING DEAD Explores the Impact of the Ground-Breaking Horror Film NIGHT OF THE LIVING DEAD THE COMEDY THE INNKEEPERS HYPOTHERMIA STAKE LAND BITTER FEAST THE HOUSE OF THE DEVIL I CAN SEE YOU WENDY & LUCY Liberty Kid I SELL THE DEAD Tales From Beyond The Pale Glass Eye Pix Comix SUDDEN STORM: A Wendigo Reader, paperbound book curated by Larry Fessenden Satan Hates You Trigger Man Automatons THE ROOST Impact Addict Videos
February 25, 2020
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Cutting Room #142: Why Pedro Almodóvar’s newest film frightened his friends

February 24, 2020
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Deadline: Yellow Veil sells DEPRAVED to Australia and Spain

Yellow Veil Pictures & Aussie Outfit Umbrella Entertainment Strike Deal For Five Titles – EFM

EXCLUSIVE: U.S. sales outfit Yellow Veil Pictures has scored a raft of territory deals across its slate, including a five-picture deal with Australia/New Zealand releaser Umbrella Entertainment.

Umbrella has picked up territory rights for Rob Grant’s lost-at-sea crowd-pleaser Harpoon, Josh Lobo’s mystery-horror I Trapped The Devil, Jack-Henry Robbins’ retro comedy VHYes, Joel Potrykus’ apocalypse comedy Relaxer, and Larry Fessenden’s horror thriller Depraved.

Yellow Veil has sold four titles to Spanish outfit Wild Duck Productions: Depraved, I Trapped The Devil, as well as A.T. White’s cosmic-horror Starfish, and Tilman Singer’s German thriller Luz…

Read article here 

February 20, 2020
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The Pale Men on “Who Killed Johnny Bernard?”

Pale Men Glenn McQuaid and Larry Fessenden chat about Fessenden’s audio drama Who Killed Johnny Bernard? Now available at TALES FROM BEYOND THE PALE The Podcast. Sketches by Brian Level.

GLENN McQUAID: WKJB is a very personal piece for you, how was the experience of putting your grief into this story?

LARRY FESSENDEN: The script came to me very organically. I had been to my friend’s funeral and many stories were told and so the set pieces wrote themselves: The accident, the sailing ship, swimming with a whale shark, working in a bank. Of course I added the bargain with the demon, because that’s what we do in story-telling, we envelope the truth in a cloak of the imagined to quench our thirst for meaning in a random world.

I liked the idea of writing a literary piece, with plenty of voice over. Sometimes with our Tales we dive into the drama through dialogue and sound effects and let the audience figure out where they are, but here I wanted to celebrate the written word with a prose style and that approach worked for this piece.

Another structural device I employed was to repeat the same dialogue twice, providing a jump-scare with the accident the first time, and then the second time, a deepening of the emotion and sense of dread as you start to recognize the dialogue and this time you know what’s coming. I like to think of it as a demonstration of Hitchcock’s famous description of shock vs. suspense: if there’s a bomb under the table and it goes off, that creates shock. If you know it’s under there, but the characters don’t, that creates suspense. This is maybe a slight variation, where you feel sad because you know the fun they are having is going to end horribly.

Anyway, these are all things we can do in our radio plays: experiment with ideas in writing and structure and point of view and see what we can get away with in this format. As for dealing with grief, I cried many times writing the piece. At least the process was cathartic for me, I can’t judge its effect on the listener.

GM: Who Killed Johnny Bernard uses quite a few different locations and drifts between several time-lines, how did you find producing and directing such an ambitious live event?

LF: Glenn, you and I worked very hard to have the transitions make sense. Ambiences and sound effects are even more crucial in a piece like this because they are actually establishing cut points and dissolves between time and locations as if it were a film. It was quite ambitious to pull it off. It is after shows like this that we always say, why not run the same tale for a week so we can actually do it right. Alas, we have never allowed ourselves that opportunity. I don’t mind the punk aesthetic but it takes its toll.

GM: As somber as the piece gets, I had a lot of fun working on it with everybody, there was a fun, family oriented vibe about the production that echoed some of the lighter moments of the story. Was that intentional?

LF: The story deals with the relationship between father and son and it was quite magical to have my pal James Le Gros and his son Noah on stage and then myself and my own son playing music for the piece. Glass Eye Pix projects always aspire to family and camaraderie not because we’re a bunch of saps, but because that is the best way I know to ward off the darkness all around. This radio play is about the horror, but it is also a celebration of a life well lived and the other intangible things we must defend, even as our ideals unravel in the public sphere.

GM: It’s alway a pleasure to work with James LeGros and he is terrific here, was he on your mind while writing?

LF: James is family, I always know he will serve the material well. I liked the idea of pairing him with his own son for this so it might have been on my mind.

GM: Matthew Stephen Huffman, one of the nicest guys I know, is absolutely terrifying here, what have we done to poor Matt?

LF: Matt is a treasure we’ve been mining since the first season of Tales. He has a great voice and the perfect attitude for the Tales ensemble. I think life has pulled him away from acting regularly but it is nice to know we can drag him back to the mic now and again and get these delicious performances.

GM: Music is a big passion of both of ours, how cool was it to have your son, Jack Fessenden jam along side you and James LeGros’ son, Noah?

LF: That was fun, all part of putting something real and unexpected on stage. We’re the producers: If we want to end the play with a little sax solo, that’s just what we’ll do!

In conclusion I want to post this photo of me and the real Johnny (last name not Bernard), showing the sorts of things we got up to. At my insistence we would perform scenes from “Cabaret” for friends and family, with him playing Liza Minelli and me as Joel Grey. John was game for anything. We were doing drag acts in the 70s before it was cool.

February 20, 2020
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TALES FROM BEYOND THE PALE The Podcast — Episode #20 “Who Killed Johnny Bernard?”

Episode #20 Who Killed Johnny Bernard?

A man tries to bargain with the devil to change the fate of his son after a deadly accident

written and directed by Larry Fessenden
featuring Larry Fessenden, James Le Gros, Noah Le Gros, Lauren Ashley Carter
John Speredakos, Matthew Stephen Huffman
guitar & drums Jack Fessenden • sax Larry Fessenden

Performed Live August 20th 2016 • Poster by Brian Level

for more TALES physical media, info and Swag, visit

 

February 18, 2020
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Glenn McQuaid chats with People I Think Are Cool

From People I Think Are Cool: Glenn McQuaid is a writer, director, producer, and musician. He is the co-creator of the popular horror audio play & anthology series Tales from Beyond the Pale. He’s also the writer and director of the film I Sell the Dead, starring Ron Perlman and Dominic Monaghan. I discovered Glenn through his music created under the name Witchboard. Glenn is incredibly talented. In this episode, we talk about working in different mediums, creating stories with Larry Fessenden, the music that inspires him, and using sound to tell scary tales. 
Take a listen HERE
February 15, 2020
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GNOH: TALES FROM BEYND THE PALE The Podcast is “a masterclass in audio horror”

FULL reviews of TALES FROM BEYOND THE PALE The Podcast Episodes 1—14

“a masterclass in audio horror,
deserving a place with the classic audio dramas
that they were inspired to modernize”
—Craig Draheim, Ginger Nuts of Horror

 Tales from Beyond the Pale – The Podcast
November 6th, 2019 – January 8th – 2020

Debuting in 2010, Tales from Beyond the Pale was created by auteur, Larry Fessenden and Glenn McQuaid from their love of classic 1930s radio dramas and as a response to the current state of the indie film world. Originally the only way to listen to the episodes would be if you were in the live audience, heard it through other outlets, or purchased an episode. In October of 2019, Tales from Beyond the Pale – The Podcast was established, releasing a past episode each week that can be downloaded/streamed for free on Android or IOS. Each month I will be providing a review of the episodes that were released.

So not to repeat myself, if you’re interested in learning more on its creation, how it’s produced, or my views on the podcast as a whole, please check out my original review.

EPISODES 1—4
4 ½ OUT OF 5 STARS

Episodes 5—14
5 OUT OF 5 STARS

February 14, 2020
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A Valentine’s Day release: SADISTIC INTENTIONS now available!

Plan a date with Jeremy Gardner, Taylor Zaudtke, 
Michael Patrick Nicholson and Fessenden this Valentine’s Day.
The heavy metal romance directed by GEP pal Eric Pennycoff
is now available on iTunes, Amazon, Google Play and more!

“A thoughtful, tense and disorienting thriller”
– Film Stories UK

“I dare you not to smile”
– Nightmarish Conjurings

“Linklater meets the occult romantic horror”
– The Hollywood News

“Filled with a real palpable tension”
– Projected Figures

“A timely condemnation”
– SciFi Now

“Wholly tender and sweet”
– Bloody Disgusting

“One of the most romantic horror films in recent memory”
– Modern Horrors

February 13, 2020
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TALES Dispatch: McQuaid and Fessenden Talk “Die Sleeping My Sweet”

On the occasion of the World Premier of Glenn McQuaid’s new Tale From Beyond The Pale, “Die Sleeping My Sweet” The Pale Men have a chat about the project’s origins. Accompanying art are alternative poster designs by Tales regular Brian Level.


LARRY FESSENDEN: Glenn, This is such a remarkable story you’ve written. Can you tell us about how the idea came to you?

GLENN McQUAID: The initial idea came to me when I read an article about a doctor who was able to communicate with a comatose patient in basically the same way as I demonstrate in the piece, right down to the use of the imagination of playing tennis as a means to trigger a yes response. It all seemed like such an interesting set-up and something that would work well within the audio drama format, I especially wanted to perform Die Sleeping my Sweet live as the foley is particularly physical and I think the audience really enjoy seeing our foley artists at work. 

LF: Isn’t it true that even as we do audio plays, there is a mischievous awareness that we are putting on a live show that we want to be unique for the audience witnessing this one-time-only event. (we restrained ourselves for reasons of safety I think: “It’s always fun till someone loses an eye” as mother used to say.)

GMcQ: I remember wanting Chris Skotchdopole to whack the tennis balls into the audience with all his might, and basically everyone on stage, including my tennis-playing husband, Lee Nussbaum, who handles our sound recording, advising me that that was not one of my brighter ideas. I still think it’d have been hilarious for the audience to be getting hit by the tennis balls that were integral to the story telling. 

LF: You have managed to hit a really great tone with this Tale. Can you speak about your influences.

GMcQ: Thanks, I love the tone too. There’s an aspect of the piece that’s inspired by classic late-night soap operas like Dynasty, Dallas and Falcon Crest, I wanted to have fun with the melodrama and lean into the exposition in the way those shows did. Exposition gets a bad wrap but I think it can be fun and ridiculous and ultimately its own art form. There’s also an element of noir to the piece, in that sense I think Hitchcock’s Strangers on a Train is an influence. It’s always fun to tap into other art that speaks to you but I’m also keen to transcend those influences and let my work become its own odd thing, that’s where the magic’s at. I am a big fan of Anna Biller’s The Love Witch which clearly taps into a certain style of vintage Hollywood flair and ham but Biller uses those tropes and subverts them in really subtle and powerful ways, she produced a piece of film that moved past homage and became something new and exciting, its own wild thing. 

LF: You have often said this Tale and two others form a loose trilogy  (The Crush and Cedar Lake). Talk a bit about what you mean. How do you see them connected…?

GMcQ: I suppose the real connection is the ongoing punishment of John Speredakos! John is a terrific actor that I love to put through the ringer. In all three stories he plays the good natured, well meaning husband to a wife that’s ready to wring his neck for various reasons. All three pieces are inspired by EC Comics CrimeSuspense Stories, many of which start off as relationship dramas that turn ugly fast once greed, jealousy or even sheer irrational-meanness enter the picture. I like that within Tales we now have bodies of work that pool together, for instance, I think Reappraisal is of the same universe as Speaking in Tongues, similarly I sense a kinship with Who Killed Johnny Bernard and The Hole Digger.

LF: We put these shows on with almost no rehearsal, usually one read through on the day of the performance. Can you tell us about your cast: those who are familiar players and working with new members of the ensemble.

GMcQ: Well, as mentioned, I love working with John Speredakos, our relationship goes all the way back to I Sell the Dead and it’s always interesting to have him around for projects, he’s very passionate and there’s sort of a short hand between us now where I’m not having to over-explain anything. Matthew Stephen Huffman is another actor I love, he plays Antonio’s closeted lover Frank and he brings so much charm and depth to his work that it’s alway a pleasure to have him on board, Matt is also in The Crush and The Ripple at Cedar Lake, so I guess he’s another tie that binds. This was my first time working with Caprice Benedetti who plays Claudia, she was an absolute pleasure to have on stage and was really down for having fun with our short rehearsal period. I had seen Caprice in my friend Ana Asensio’s movie, Most Beautiful Island, so I was excited to collaborate with her. Juan Carlos Hernandez brought a lot of kindness and fun to the character of Antonio, similarly Teresa Kelsey who plays Dr. Peterson added a pathos and almost maternal warmth to her character that was a nice surprise to watch happen, I think she’s a wonderful actor. 

LF: Even though these shows are performed live, it is fair to admit we do some editing and shaping in post-production before presenting them to our home listeners. Care to talk about the journey this tale took from performance to final mix.

GMcQ: We individually mic all actors and musicians on stage and a lot of the time the foley table has about four or five close-range mics on it, and so, often we end up with fourteen or fifteen separate channels to clean up in the post process. It can be quite daunting when one firsts opens the sessions, memories of the live performance need to take a back seat as we’re presented with the reality of the cold hard recordings, and so the work must almost start over. Each channel must be cleaned up to avoid spill from other sources, I will edit out any of the recording that is not “hot”– the silence between dialogue, non-perforamce breaths and so on. Once everything is cleaned up we can then go in and tweak the content if needed, edit the timeline and add additional sounds if we feel that kind of embellishment is favorable. We’re lucky that we have people like John Moros on our side, who adds a lot of professionalism and artistry to our post process. We’re nothing without the incredible team we’ve dragged with us Beyond the Pale! It has become such a rich, wild tapestry of craft, this mad project of ours. 

Lincoln Center, 2 August 2019: Jack Fessenden, Caprice Benedetti, Matthew Stephen Huffman, 
Juan Carlos Hernandez, John Speredakos, Glenn McQuaid, Teresa Kelsey

February 13, 2020
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TALES FROM BEYOND THE PALE The Podcast Episode #19 “Die Sleeping My Sweet”

Special Valentine’s Day Treat!
The World Premiere of Glenn McQuaid’s devilishly romantic tale!!

Episode 19: Die Sleeping My Sweet

A comatose patient desperately tries to communicate with the outside world.

written and directed by Glenn McQuaid
John Speredakos, Caprice Benedetti , Juan Carlos Hernandez 
Teresa Kelsey,  Matthew Stephen Huffman

Performed Live August 2, 2019  • Poster by Brian Level

for more TALES physical media, info and Swag, visit
February 12, 2020
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Coming Soon: Prepare For Two New Tales From Beyond the Pale Episodes!

From ComingSoon.Net: The iconic decade-long radio drama Tales From Beyond the Pale: The Podcast has announced two new episodes are on the way for fans over the next week, beginning with a terrifying Valentine’s Day story Die Sleeping My Sweet by Glenn McQuaid and followed by Larry Fessenden‘s Who Killed Johnny Bernard?.

The brain-child of McQuaid (I Sell The Dead, V/H/S) and Fessenden (Depraved, Habit, Until Dawn), the podcast has received rave reviews and five-star ratings across the board on platforms from iTunes to Spotify, startling listeners with its remarkable variety of stories, its caliber of talent, and immersive production value.

Just in time for your Valentine’s Day weekend, Tales presents a twisted love story with McQuaid’s Die Sleeping My Sweet, which he describes as, “bringing together my love of soap opera melodrama, bear porn, and medical thrillers.” The piece is the third in a loose trilogy within Tales that includes The Crush (Episode #3) and The Ripple at Cedar Lake (Episode #7), and continues McQuaid’s exploration of bold queer characters caught up in peculiar situations.

“The format of the audio drama has allowed me to explore characters, stories, and tone in a way that I wouldn’t have otherwise,” McQuaid said. “The further I delve beyond the Pale, the more confident I am in leaning into the exploration and experimentation of auditory possibilities.”

Of Who Killed Johnny Bernard?, which premieres February 20th, Fessenden says, “It speaks to the broad opportunity offered by the Tales platform that I was able to process my grief at the loss of a friend by delving into a sweeping Tale that brought together so many of my themes of fate and belief and sudden violence and love, all in an ambitiously structured nifty half hour entertainment. We are so grateful to have an audience for our stories.”

Both Die Sleeping my Sweet and Who Killed Johnny Bernard? were performed at New York City’s Lincoln Center for the Performing Arts in front of a live audience.

Read full article HERE