March 27, 2020
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GEP Quaranstream: WENDIGO movie & comic available online

Directed by Larry Fessenden.

Starring Patricia Clarkson, Jake Weber, John Speredakos and Eric Per Sullivan.

“…one of the best indie features in years..”
– Fangoria

“…creates tension and fear out of thin air…”
– Roger Ebert Chicago Sun Times

“A filmmaker with an uncanny gift for the creation of unsettling moods…
Fessenden manages to use snow, light and wind to create a potent, chilling dreamscape.”
– L.A. Times

Adaptation of the screenplay for Larry Fessenden’s WENDIGO. Working in tandem with Fessenden, illustrator Brahm Revel worked with the film’s location stills and design concepts and his illustrations served as a blueprint for the film’s shoot.

Comic available on Comixology.
Stream Wendigo on Shudder.

March 27, 2020
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GEP pal Beck Underwood talks “An Exquisite Task” with Woodstock Film Fest Animators

The Woodstock Film Festival is sharing animated films by our alum filmmakers for you to stream from the comfort of your home. 

Q&A with Beck Underwood, the director and animator for “An Exquisite Task”, which screened at the festival in 2017.

Synopsis: Set in an old barn slated for teardown, a vintage doll, a mysterious barn spirit and some mischievous farm critters, come together in this stopmotion short about motherhood, creativity and letting go.

Watch “An Exquisite Task” here: vimeo.com/213359476
See more of Beck’s work at beckunderwood.com

For more animation recommendations during the quarantine,
subscribe to the Woodstock Film Festival newsletter at woodstockfilmfestival.org

March 26, 2020
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Tales Dispatch: Speaking on “Speaking”

Glenn McQuaid and Larry Fessenden Speak about McQuaid’s TALE “Speaking In Tongues”, written by McQuaid and regular collaborator April Snellings, performed live in Montreal in 2017 and now available at TALES FROM BEYOND THE PALE The Podcast.

LF: SIT is one of the more literary TALES. It feels like a gothic short story. What were the inspirations? And how was the collaboration with April?

GMcQ: I am obsessed with demonology, and in particular demonology that moves past dogma, that moves past any concern with the idea of heaven and hell. To me demons are vastly more intriguing when they’re adhering to rules that we, as mere mortals, simply don’t comprehend. Also, I like the idea that these kinds of worlds are intertwined with the working class. The early works of Clive Barker are an inspiration, The Damnation Game and a lot of the Books of Blood brought dark fantasy to a blue collar world and, that being the world I’m from, always sparked my imagination. That pathways can open up to kids growing up in council estates, or to jaded workers in dole offices, or cruisers looking for a ride in public toilets- to bring a fantastic majesty to the humble, salt-of-the-earth corners of the world excites me. And so I tapped into the idea of someone who finds themself caught up with a demon through their line of work.

I love working with April Snellings, she’s one hell of a writer, very sharp and intuitive and her imagination is as dark as my own. I’m always bugging her with my ideas and hoping she has the time to jump onto something with me. I think we complement each other nicely and she’s a much better writer than me so she definitely ups my game.

LF: The dual language is so interesting listening again, just wonderfully rich. Was it strange directing the French-speaking actors

GMcQ: The idea to include French language in the piece came from Stephanie Trepanier, I mentioned that we were going to be in Montreal doing Tales, this was before I had settled on an idea, and Stephanie suggested that the audience up there would really appreciate hearing some local tongue. I knew I didn’t want to do a completely French piece so the idea of an interpreter popped into my head and the ideas started to flow from there. I tend to use Tales as a means to experiment, and this was something we had never done before, playing with language in this way.

The actors were all bilingual, so directing them was not so strange. Kaila Heir, Mitch Davis and Ted Geoghegan were all incredibly helpful in getting me the support I needed to pull off the piece up in Montreal. Kaila introduced me to Virginie Lamoureux who translated my words to French, and it was a real thrill to hear my work in French.

LF: Perhaps you could describe the wacky experience putting on this show. One of three Tales, mad Rain outside, musicians, loud bar, and Doug Buck and Tony Todd! Truly epic… Maybe the craziest live Tales ever, yes?

GMcQ: I think it may have been the craziest show we’ve ever done, yes. Even the run up to it was interesting to say the least. I remember thinking it wasn’t going to happen at one stage but it all came together on the night as they say. I think I was a little moody trying to organize all three Tales the day of the event. I remember Jenn Wexler beaming about the experience of being in Montreal with all the creativity that was going on around Fantasia, and just needing to check myself, take a deep breath, roll up my sleeves, roll with the punches and enjoy myself.

As well as the ambition of my own piece, Doug Buck’s Hidden Records was a huge undertaking and I was primarily responsible for all of his sound design and effects which needed to play in tandem with a lot of live musicians. That was first up, then came my piece and finally there was Barricade, which, to your credit, let go of a lot of the more formal structure we tap into and felt more like a punk show. I really enjoyed letting go and making some noise with everyone, it was very cathartic after all the stress. I got so wrapped up in the production of the night that I completely forgot I was to read the end credits and to my shame I couldn’t pronounce many of the names, it was not my finest hour but thankfully the audience were very kind about it, looking back, that’s my one regret about the night but all in all I am very proud of the night and think we put on a very diverse and sexy show.

LF: You’ve suggested this character I played connects in some way to the Demon in Reappraisal. Could you explain…?

I feel they’re both of the same world though I’m not sure yet if they’re the same demon, perhaps they used to be and somehow splinted off from one another. Sometimes I find myself intrigued with the greater world of something I wrote and in that respect SIT paved the way for Reappraisal and some other writings.

LF: The ending has that strange McQuaid whimsey, after all the listener has been through. Any thoughts on how it came about?

I find the end of Speaking in Tongues to be really moving. I tear up at Wayland’s joy at the simplicity of his plan, his triumphant call-to-arms that we simply “carry on” is really profound to me. As mentioned, I think I was pretty run-down in the run up to the show so the idea of the “show must go on” sort of infiltrated the writing, and we were both writing up to the curtain call! I remember talking to you during rehearsals and saying I really wanted the audience to think that you were having an uncontrollable fit of the giggles up there, that you, Larry Fessenden, were corpsing, because if the audience felt that from you they might join in on the laughter, and I have to say that you really nailed it, it’s an authentic and infectious performance. What could have been a dumb joke ending became transcendent, I was, and am still, so proud of this production and how it played.

photos: arriving at the border • Packed to the Gils • McQuaid’s crib notes • live fan art of Fessenden’s character

March 26, 2020
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Tales From Beyond The Pale The Podcast — Episode #25 “Speaking in Tongues”

Episode #25  SPEAKING IN TONGUES

One night in Montreal, an ageless man hires a young female translator
to help settle mysterious debts with an array of desperate characters.

Directed by Glenn McQuaid, Writers Glenn McQuaid, April Snellings
Featuring: Larry Fessenden, Tessa J. Brown, Alex Goodrich, George Mougias, Izzy Lee

Performed live July 27, 2015 • poster by Trevor Denham 

for more TALES physical media, info and Swag, visit
www.talesfrombeyondtheplae.com
March 25, 2020
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IndieWire: Fellow Filmmaker Larry Fessenden Fondly Remembers the Horror ‘Maverick’

Gordon passed away earlier this week, but Fessenden remains inspired by a filmmaker he places inside the hall of fame horror greats.

IndieWire asked Larry Fessenden, actor/producer/filmmaker and founder of indie production outfit Glass Eye Pix to remember fellow filmmaker and long-time playwright Stuart Gordon, best known for his trademark horror offerings “Re-Animator,” “Dagon,” and “From Beyond.” On Tuesday, Gordon died at at age 72.

Like many horror fans of my generation, I saw “Re-Animator” in the theater on the big screen. It was a revelation, so bold and sassy and that Barbara Crampton, whew! The practical effects had such exuberance (talking severed head in a medical tray anyone?) you could sense his history in experimental theater by the way he staged gore gags. “Re-Animator” put filmmaker Stuart Gordon squarely in the company of iconic horror auteurs John Carpenter and George Romero, and it began his life-long affinity for H.P. Lovecraft adaptations. His follow-up film was another Lovecraft story, “From Beyond” and it did not disappoint. Gordon would go on to put “Dagon” on the big screen and a couple more Lovecraft tales on the small screen too, for the aptly named series, “Masters of Horror.”

I believe his last Lovecraft adaptation was for our own “Tales from Beyond the Pale” episode “The Hound” for which he “got the band back together,” writing with Denis Paoli, music by Richard Band, and a cast including Crampton, Ezra Godden, and Chris McKenna. It is a tribute to Stuart’s warmth and character that these collaborators would show up to work on a low-budget production like “Tales.”

My partner in “Tales,” Glenn McQuaid, served as in-studio producer and eventually as Stuart’s sound designer. Stuart ran the production with great humor and professionalism and was very stern with Glenn, pushing him until the sound scape was just how he wanted it. It was a wonderful experience to see how Stuart worked, he was demanding, gregarious, and firm, even in overseeing a humble radio play. In fact, we were in talks to do a second radio play from a tale by Stephen King.

Stuart and I had been corresponding since 2010, trying to put together a couple films for him to direct. I found this period very invigorating, as the idea of working with a man of his grace and stature was very affirming. He felt that Glass Eye Pix would be able to deliver a quality production on a budget. It is heartbreaking to re-read the old e-mails now, and to recall the phone calls where we really did think we could make something together.

At the time the most recent movie I had seen of his was “Stuck,” a remarkable flick that I consider among his best work. He also directed “Eater” for “Fear Itself,” which felt like a companion piece to my own episode from that series, “Skin and Bones.” I could sense in our calls that Stuart was frustrated by the industry to which he had given so much: along with the classics, there was “Dolls,” “Space Truckers,” “Castle Freak”… and of course, “Honey, I Shrunk the Kids” (story by). It has always been the same for horror auteurs of that period: Romero too felt he could not count on support from Tinseltown. Horror makers were second-class citizens.

But Stuart had always been a maverick who saw the world clearly: his early theater was confrontational and challenging, traumatizing audiences in an effort to shake societal complacency. His last play, mounted in 2014, was “Taste,” about the German cannibal who ate his date. Stuart did not shy away from difficult material.

I finally met Stuart and his wife at the storied Stanley Hotel where Stephen King had become inspired to write “The Shining” and where in fact Mick Garris had filmed his version of the King classic. Stuart was attending the Stanley Film Festival and he was very warm to me; he always complimented my work and showed genuine affection for the world he inhabited, a world populated by rabid fans, hard working artisans, and the occasional auteur always up to the challenge of responding to a cruel and unjust world with kindness, dedication, and a macabre wry wit.

So long, Stuart. You will be missed.

Read HERE

March 25, 2020
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Remembering Stuart Gordon on Talkhouse

Talkhouse Film Contributors Remember Stuart Gordon

Testimonials from Barbara Crampton, Richard Stanley, Rodney Ascher, 
Jim Hemphill, Brian Trenchard-Smith, Charles Band, Joe Dante,
Darren Lynn Bousman and Fessenden.

In the following post, Talkhouse Film contributors and other filmmakers share their tributes to Stuart Gordon, the great genre filmmaker behind such films as Re-Animator, From Beyond, Dagon and Dolls, who passed away yesterday, aged just 72. He was a contributor to Talkhouse Film from its inception (you can see all of his pieces here), and was both a brilliant writer and a warm, lovely human being. He will be deeply missed.

More remembrances will be added to this post as they come in. Feel free to leave your own tributes and memories in the comments section. – N.D.

Richard Stanley
We are deeply saddened here at Shadow Theatre HQ by the news of Stuart Gordon’s passing. Stu was the founder of Chicago’s Screw Theater who staged a notorious 1968 anti-war adaptation of Peter Pan (inspired by the Democratic National Convention riots of that year) that got him and his then-girlfriend (and later wife) Carolyn Purdy arrested on obscenity charges. The case received national attention before the charges were finally quashed. Stu capitalized on the publicity generated by this case to launch the Organic Theatre company, described as “take-off-your-clothes, scream and bleed theater,” whose legendary excesses included the premiere production of David Mamet’s Sexual Perversity in Chicago (1974). He is perhaps best remembered by contemporary audiences as the director of Re-Animator (1985), a darkly comedic re-imagining of H.P. Lovecraft’s classic story cycle that served to unleash a further slew of hugely popular adaptations on the world, including From Beyond (1986), Dagon (2001) and “The Dreams in the Witch House” (2005) for the Masters of Horror anthology series. His work played a pivotal role in widening the reach of Lovecraft’s mythos and cementing its place in popular culture. I had the good fortune of meeting Stu in the early 21st century when I appeared as an uncredited extra in Dagon, playing one of the inhuman denizens of the cursed village of Imboca, indeed the only one to be seen wearing a hat. We took meals together many times during the course of the troubled production as I suspect Stu needed a sympathetic listening ear, being somewhat adrift in Galicia at the time and relatively unfamiliar with the Spanish language. I will always cherish the memory of those conversations. Now Lovecraft’s Old Ones have recalled their tireless publicist and cinematic spokesperson to the great beyond. Iä! Iä! Cthulhu fhtagn! In pace requiescat, maestro. This world will never be the same without you.

Rodney Ascher
There’s a quote from Flaubert I’ve always found inspirational (one I’ve misattributed for years to J.G. Ballard): “Be regular and orderly in your life, so that you may be violent and original in your work.” Although I can’t claim to have known Stuart Gordon closely, my brief meeting with him at the 2015 Stanley Film Festival (where he was generous enough to speak well of my film The Nightmare, and more importantly, to talk at length with my five-year-old son about Honey, I Shrunk the Kids) left me with the impression that the quote was written specifically for him.

Re-Animator is a film I’ve watched and rewatched countless times (and even showed clips from when I was teaching at a film school), but the trio of neo-noirs he directed in the 2000s (King of the Ants, Edmond – or as I like to call it “David Mamet’s Eyes Wide Shut” – and Stuck) riveted and shocked me in ways that are increasingly rare. All four of those films did things I assumed couldn’t be done, broke rules that I assumed were carved in stone, and delighted me as they did it. My brief in-the-flesh encounter with him suggested that these uncompromising works of transgressive art (that were also often very funny) were all the work of a kind and generous man and I’ve been heartened to see it confirmed in the countless testimonials to him exploding online this morning.

Jim Hemphill
Stuart Gordon was a god to me for almost 30 years before I ever met him. Like many of his fans, I first discovered his talent via his debut feature Re-Animator, a movie I still consider to be one of the 10 greatest horror films of all time. When it was released in 1985, I was a rabid 13-year-old movie nut who pored over Roger Ebert and Pauline Kael’s reviews like a rabbi studying the Talmud. They were sacred texts, and I vividly remember both Ebert and Kael championing Re-Animator in reviews that made me salivate for the film. (The fact that it had been released unrated because no cuts imaginable could make it palatable to the MPAA made it even more appealing.) When I finally saw it after what seemed like an eternity of waiting (it was probably about two weeks), the most shocking thing about Re-Animator wasn’t its explicit violence or sex but the fact that it exceeded my stratospherically high expectations; it was smart, hilarious, scary, and as philosophical as it was visceral – the work of a true visionary.

I don’t have the space here to go through my ongoing relationship with Stuart’s films, but I’ll just say that after Re-Animator I looked forward to every new Stuart Gordon release with the same breathless anticipation that met each movie by Scorsese, Eastwood, Bigelow, Demme, and the other masters in my personal pantheon. In 2015, I finally had the opportunity to interview Stuart for Paste Magazine, and the experience proved that whoever said you should never meet your heroes was an idiot. Stuart was every bit as intelligent and funny as one of his films, but with a soft side that might surprise some. (It didn’t really surprise me, since in my experience meeting filmmakers like Wes Craven and Sam Raimi I’ve often found that directors who make the most savage movies can be the nicest, most well-adjusted human beings on the planet.)

We struck up a friendship via email and then in person, and I found out what a special man Stuart was. He seemed genuinely interested in me and my work, taking the time to watch my movie The Trouble with the Truth and giving me advice about where to go next. Making films is such a brutal and difficult business that many people who do it are too busy treading water in their own careers to help others, but Stuart always had time for me and my questions, no matter how dumb or frivolous. When you finished a conversation with Stuart, you always felt better about yourself and the world than when the conversation began; he was a man of faith and empathy, and I think that’s the key to the greatness of his films – they were dark movies by a pure soul, giving them a complexity and resonance that makes them endlessly rewarding on repeat viewings. I felt honored and flattered by Stuart’s mentorship and generosity, and in the hours since he passed away I’ve discovered that he had a similar relationship with dozens of other filmmakers – I thought I was special, but it turns out Stuart was the one who was special.

Darren Lynn Bousman
A few years back, I was invited into the inner horror circle by way of an exclusive event known as the “Masters of Horror” dinner. This was something put together by our maestro, Mick Garris. This event was held a couple of times a year at various restaurants around Los Angeles. In short, it was an excuse for a bunch of horror lovers to get together and geek out about all things macabre. I remember at one of these events, I was sitting by myself at the bar… Truth by told, I didn’t know many of these legends outside of their movies I idolized as a kid. In the beginning, I was scared to approach them, so the majority of that first event I sat by myself, trying to work up the courage to introduce myself and inject myself into their conversations. So, cut to me sitting at the bar, sipping on a cheap beer, when over walks Stuart Gordon. Holy fuck, this dude is a legend. As I sat there, trying to figure out what to say to him, he turned to me. “Darren Bousman?” he says. “Yes!” He extends his hand, “Stuart Gordon, wanted to introduce myself to you!” I flipped the fuck out. Stuart Gordon is introducing himself to me!!! We chatted, and he walked me over to the group, and invited me into his conversations.

Stuart was a fucking insanely talented artist. Most will fawn over his movies, Re-Animator, Castle Freak, or my personal favorite, Stuck. But my favorite Gordon production hands down was his directing of Taste, the nasty and gut-wrenching play based on the true account of a man who put an ad online looking for someone he could kill, cook and eat… Sitting in that theatre, revolted at the content, I couldn’t help but smile, Gordon was jumping and shifting narrative mediums and still finding a way to disgust and entertain me, decade after decade.

Brian Trenchard-Smith
I met Stuart Gordon when he came to Australia to make the Christopher Lambert sci-fi actioner Fortress. I had been a big fan since his gloriously Grand Guignol Re-Animator, one of several H.P. Lovecraft novellas he brought to the screen. He was kind and gracious to me personally. We would meet periodically at Masters of Horror dinners. He was a warm-hearted, energetic man, with a keen intellect and a love of actors born of many years working in theater. He loved movies and relished the challenge to make them bigger than their budgets. He knew how to build tension, then break it with a laugh. He enjoyed turning clichés on their heads, while chopping off a few heads along the way. But he also understood what would make family audiences laugh, as the co-creator of the Honey, I Shrunk the Kids franchise. There was, in fact, no genre he could not handle. It was a pity the studios did not recognize that. But he will always be remembered as an icon in the Horror Hall of Fame. Vale, Stuart, you will be missed.

Barbara Crampton
I met Stuart when the actress originally cast as Meg in Re-Animator dropped out, after her mother read the script.

I guess the role was thought to be too racy and provocative. But that’s what I loved about it, those boundary-breaking leanings and the humor, of course.

The casting director Anthony Barnao called me in on the second go-round to read for Stuart, with Jeffrey Combs and Bruce Abbott, who had already signed on for their respective roles.

There were a few other young gals there too, but after a few hours, it was just us three actors. Stuart had us run through the scenes and offered a lot of directives for us to try.

I remember him calling out specific prompts to me personally: “You love him more than anything in the world,” meaning Dan. “You don’t trust this guy, he’s hiding something,” meaning Herbert West.

I felt like I was rehearsing a play. We went on like this for a long afternoon. The next day, I received the happy news that I’d been picked for the role. I was ecstatic. This was the biggest part I’d been asked to play up until this point. We continued to rehearse for the three weeks leading up to filming. We didn’t get paid for that time, but I didn’t care. It was about the work and I was so happy to be in the company of a real director and talented actors, honing the words and the play of each scene. We were so prepared going into production for our 22-day shoot that it felt like we actually had more time than that. Yet surprisingly, we also went into overtime almost every day. Stuart never wanted to stop filming, or for that day to end.

Wrapping shortly before the Christmas holiday, many days we went 14 or even 16 hours. I made more money in overtime on Re-Animator than my original salary. The film was a hit and called “pop Buñuel” by Pauline Kael. Janet Maslin said it had “grisly vitality.” Roger Ebert walked out of the theater saying he was “surprised and reinvigorated.” Most agreed it was daring, exciting and original.

The success of the film spawned a working relationship with Stuart Gordon and a deep friendship which lasted more than 30 years. He pushed me into uncomfortable and vulnerable places as Meg, he encouraged me to celebrate my bravery and heroism in From Beyond and to search for my deep love as a mother while simultaneously examining the horror of an unforgiving marital relationship in Castle Freak. He, along with his longtime writing partner Dennis Paoli, wrote thought-provoking and long-lasting stories of men and women thinking and acting on impulses others dare not utter. He was the bravest and kindest creator, gentle, funny, and illuminating of our darkest fears and greatest hopes.

Joe Dante
Stuart was a longtime attendee at the Masters of Horror dinners in Hollywood, a gathering of (usually out-of-work) genre filmmakers, which allowed me to recruit him as a valued Trailers from Hell Grindhouse Guru. His taste in commentaries was eclectic, running from the expected Cannibal Holocaust to the unexpected Calamity Jane!

Which serves to highlight a divide in his media profile ⁠— although beloved for his iconic and witty horror films like Re-Animator, he was just as dedicated to the theater, co-founding Chicago’s Organic Theater Company and defying the University of Wisconsin to stage a notorious nude version of Peter Pan.

More recently, he’d been active in the L.A. theatre scene with his staging of Nevermore with Jeffrey Combs as Edgar Allan Poe, and most riotously, Re-Animator: The Musical, during which the first several rows of audience were supplied with plastic sheeting to ward off the gouts of gore splattered from the stage. Despite a number of health issues in recent years, he never lost his sense of humor. He will be missed.

Larry Fessenden
I had known Stuart Gordon through his work since Re-Animator came out. I was always charmed by that film’s wry sensibility and the theatrical panache with which he pulled off the special effects. It instantly felt like a new voice in horror had arrived. I remember sitting with my future wife watching From Beyond a few years later. In my memory, we were in some sleazy theater on 42nd Street, but that’s just the spell cast by the movie. And I remember watching Stuck, from 2007, and wishing he had gotten to work more.

Years later, in 2010, I found myself corresponding with Stuart about collaborating on a movie together. My company, Glass Eye Pix, had specialized in producing low-budget horror and Stuart felt maybe we could get a project off the ground. He had a sort of “Old Hollywood” workman’s approach to the business which I found grounded and appealing. We went out with two different scripts that he liked, but never quite landed the big bucks. And indeed, I feel like Stuart’s idea of low-budget was a bit elevated from the sort of fare I had been able to pull off with young first-time directors.

Then, almost in a conciliatory gesture, I invited him to direct a radio play for the series I had launched with Glenn McQuaid, Tales from Beyond the Pale. Stuart agreed and we mounted a lovely production in which he brought on many old collaborators — writer, composer, and cast members, including the radiant Barbara Crampton — and with Glenn on board as sound designer, they created something quite wonderful. (I even got to be directed by Stuart in my role as the Demon Hound Itself!)

Stuart was always very convivial and supportive, generous with a compliment but never pandering. He was an artist and workman who had his own struggles with the industry, despite his iconic contributions. (Recall that he also penned the story for Honey, I Shrunk The Kids). Just last month, I was working with Ms. Crampton on a film and our thoughts turned to Stuart. Our reminiscences were warm, our admiration deep. He was a mentor and friend and fellow traveler, all at once. Godspeed, Stuart.

Charles Band
Everyone in our Full Moon Features family is deeply saddened by the passing of Stuart Gordon. Our history with Stuart goes back over 35 years, when he and Brian Yuzna came into the Empire Entertainment office and found a home for Re-Animator. Films like From Beyond, Dolls, Robot Jox, The Pit and the Pendulum and Castle Freak followed and throughout all of them, Stuart and I remained good friends. He and my dad had an especially great relationship and hung out until my dad left us in 2002. Beyond his talent, Stuart was a super sweet man: if you had met him on the street you would never imagine that he was the creator of such compelling, yet depraved work. Lovers of our genre have lost a unique kindred spirit and we will miss him very much.

Talkhouse.com

March 25, 2020
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R.I.P. STUART GORDON

Glenn McQuaid and the late, great Stuart Gordon in the studio
during the making of H.P. Lovecraft’s THE HOUND.

A filmmaker, theatre director, playwright & screenwriter who brought us genre classics such as
THE RE-ANIMATOR, CASTLE FREAK, DOLLS, FROM BEYOND and more.

Take a listen to H.P. LOVECRAFT’S THE HOUND, directed by Stuart Gordon and featuring Barbara Crampton, Ezra Godden, Chris McKenna, Glenn McQuaid, Larry Fessenden. Music by Richard Band.

Available on the TALES FROM BEYOND THE PALE PODCAST.

March 24, 2020
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GEP Quaranstream: BENEATH movie & comic available online

Imagine for a moment a group of people facing an existential threat
but no one is able to agree on how to solve the crisis
and instead are consumed with resentment and hate
so they all turn on each other.

“That would never happen” you say? Check out Fessenden’s parable “Beneath”.

Directed by Larry Fessenden.

Starring Daniel Zovatto, Bonnie Dennison, Chris Conroy, Jonny Orsini, Griffin Newman,
with Mackenzie Rosman and Mark Magolis.

“… a gleefully dire portrayal of human selfishness.”
—Time Out NY

“a weirdly personal and thoughtful generic exercise…
you can see Fessenden’s love for such horror classics as Night of the Living Dead”
—RogerEbert.com

“This film takes a hatchet to surface level friendships and
has by far my favorite death scene of the year,
ripped from the Hitchcock playbook.
—Icons of Fright

Beneath Prequel comic book available digitally on Comixology. 
Story: Tony Daniel, Brian D. Smith; Art by Brahm Revel.
March 24, 2020
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B’day Roundup: nice posts from Fango and Dread Central

March 23, 2020
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GEP Quaranstream: I SELL THE DEAD movie & comic available online!

Directed by Glenn McQuaid

Starring Dominic Monaghan, Ron Perlman, Larry Fessenden,
Angus Scrimm and John Speredakos.

“a devious piece of icky fun”
– Ain’t It Cool News

“McQuaid never lets go of the deadpan Gaelic wit that makes
the film so effortlessly enjoyable.”
– Hollywood Reporter

“A refreshingly original slice of indie quirk.”
– Dread Central

I Sell The Dead comic book available on Comixology!
Story by Glenn McQuaid, art by Brahm Revel.

Available on iTunes & Comixology