July 19, 2017
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Graham Reznick’s RAPID EYE among interactive projects highlighted at COMIC CON

GEP pal Graham Reznick presents a trailer for his upcoming interactive project RAPID EYE
at a panel at this year’s Comic Con. Written with and featuring Fessenden, RIPID EYE will blow your gasket.

COMIC CON: Thursday 8 to 9 PM

In the fall of 2017, Eko will be launching a full slate of interactive shows created by a host of creative minds from across fandom and in association with Sony, MGM, and Warner. Come see exclusive footage of the series and chat with the creators about their respective approaches to interactive narratives and what it means to give viewers control of a character’s psyche. The minds behind the shows participating in this discussion will be Graham Reznick (Until Dawn), Sandeep Parikh (The Guild), Lindsay Pulispher (Fear the Walking Dead, True Blood), Milana Vayntrub (This Is Us), Shane Small (creator, Exploding Kittens), and Ben Conrad (GenPop). Moderated by Alex Albrecht (G4techTV).

July 19, 2017
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Film Pulse: NO WAY TO LIVE “tightly wound”

Set in the waning years of the Jim Crow South, Nick Chakwin and David Guglielmo’s No Way to Live presents a tightly wound thriller that delivers a solid noir experience with plenty of twists and turns to keep audiences on their toes.
No Way to Live is a nasty little indie thriller that begins as a tragic story of love in a time when it was forbidden but evolves into something more akin to Natural Born Killers than Loving. It’s a surprising turn of events and certainly one worth checking out. Plus, it has a bunch of great split diopter shots and Larry Fessenden as a skeezy redneck…can you guess if he gets killed?
July 18, 2017
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GEP Dispatch #17: DISCONNEX

July 17, 2017
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Fessenden offers remembrance of George A. Romero in Talkhouse post

Talkhouse Film Contributors Remember George A. Romero

Larry Fessenden, Brian Trenchard-Smith, Rodney Ascher, Emily Hagins and more remember the much-loved father of the zombie movie.

In the following post, Talkhouse Film contributors and other filmmakers share their tributes to George A. Romero, the father of the zombie movie and the man behind such great movies as Night of the Living Dead, Martin and The Crazies, who passed away yesterday, aged 77.

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.

Larry Fessenden
Over the years I have often cited George Romero’s Night of the Living Dead as my favorite horror movie. It served as a fulcrum between the old black-and-white horror films produced by Universal, featuring iconic monsters like Frankenstein and Dracula, and the more modern, despairing, angry and confrontational cinema of the ’60s and ’70s. I saw Living Dead on TV late one night and as a kid, I couldn’t tell when it had been made because it was still black-and-white, but I knew something was different. I knew the genre had grown up. Later, I was enamored with Martin, another film that grappled with the tension between movie monsters, in this case black-and-white vampire movies, and the very real, disturbing psychological violence of the young protagonist. And with The Crazies, Romero gave us a parable about mass hysteria and government overreach. Even when I could see the filmmaking was awkward and on the cheap, there was an energy and a fierce intelligence to Romero’s films, and their scrappiness felt like an invitation to aspiring filmmakers to just go out and do it. Of course he did make Creepshow, which had a budget and a cast and offered him the opportunity to celebrate his love of the DC comics that had influenced him as a kid. Romero was among a band of horror purveyors who came up in the ’60s and who ushered in a more brutal tone to the genre: Craven, Carpenter, Tobe Hooper — but distinct from his contemporaries, Romero seemed to resonate a conscience even as he relished in extreme gore. It is remarkable that a medium that is so collaborative still tends to convey the personality of the director, and in his films, you can feel George’s humility, thoughtfulness and sardonic anti-establishment sensibility. I often think about how Romero lamented he never really had a Hollywood career, never had it easy making films, no matter how influential and beloved he was. It has stood as a reminder that the embrace of Tinseltown is not the only measure of success in cinema.

Jeffrey Reddick
Few filmmakers have the ability to create a masterpiece right out of the gate, but among those people is George Romero. He will always be known for his first film, Night of the Living Dead. That film captured the essence of what would come to define most of Romero’s work. It tapped into the cultural zeitgeist and was about something. It exploited our fear of “the others” while showing us that “the others” are really us. The movie broke ground by featuring an African-American lead who survives the carnage, only to be killed by people who assume “he’s one of them.” It is a stark statement on the racial conflict at the time … that still strikes a chord today. But “the others” could stand in for any group, and that’s what makes this film timeless. His other work was also about something. Whether it was consumerism in Dawn of the Dead or the desire of the military to weaponize chemicals in The Crazies, Romero always had something to say with his work. And he said it intelligence and humor.

This same intelligence and humor also made George Romero a wonderful person. In a town known for sharks, I’ve never met anyone who didn’t adore George. In addition to his many creative qualities, he was an extremely humble man. I don’t know if he ever fully grasped the impact he had on the film industry. And if he did, it never showed. But his mark on cinema will never be erased. His “light up a room” smile will never be forgotten. And whenever we see a movie with the dead walking the earth, we’ll think of him.

Brian Trenchard-Smith
1968’s Night of the Living Dead was initially banned in Australia, so my first exposure to the genius of George Romero was at the Egyptian Theater in Los Angeles the weekend Dawn of the Dead opened. OMG! Rivers of blood, graphic cannibalism, and social satire! I emerged gobsmacked, then joined the line for tickets to the next session. I had the honor to meet George Romero at the Melbourne Film Festival in 2008. What a charming, urbane, self-effacing man he was. Over canapes and goulash we discussed the mechanics of screen cannibalism. Several of the zombies in his Night of the Living Dead were investors, including a butcher who provided livers, kidneys, and intestines. Chunks of roast ham were the preferred diet for close-ups. At a time of generational change, George Romero pushed the boundaries of graphic bloodshed, infusing political comment along with deep suspicion of authority into his films. He influenced the next generation of film makers, and changed the horror genre forever. Vale, George. You will be missed.

Emily Hagins
I didn’t make a zombie movie as my first feature film just because I loved zombies – I was also heavily influenced by the work and perseverance of George A. Romero. He was one of the first directors I ever studied, and I was so inspired by his innovations and creativity within the genre while making the best of his budget and resources. Because of his films, I started to believe I could make my own independent horror movies as long as I had interesting characters to drive the story. Even though Creepshow has a completely different tone from Night of the Living Dead, they are united by compelling characters, twists on the horror genre, and social commentary that tell us, “Hey, horror movies can be fun and have something to say.” That’s what makes all of Mr. Romero’s films timeless to me. And on a personal note, I’ll never forget the few times we met and I shyly told him how much I looked up to him (and how kind and smart he was in return), or how shocked I was to hear that he knew about my little zombie movie.

Rodney Ascher
Growing up in the ’80s, it was still possible to hear about certain notorious films, (picking up details from unreliable older brothers of school friends or from still photos in old issues of Fangoria) without having any way to actually see them. Dawn of the Dead was one of those for me. I remember being told a story of a man trapped in an elevator facing monsters at every floor. I saw a black-and-white image of someone walking too close to a helicopter rotor. I knew the film had something to do with a shopping mall, which sounded crazy because horror movies take place in the woods or in old castles. I had to see it, but I couldn’t see it.

Life, uh, finds a way.

In my case, it was the AMC Midnight Movie Express. Multiplexes back then typically screened their final shows at 10PM, but one day some unsung hero at the AMC theater chain decided to give the Express a try. It was incredible while it lasted, entire suburban multiplexes screening the greatest hits (and some surprisingly deep cuts) at midnight all weekend long. Chainsaw to Phantom of the Paradise, Heavy Metal to Bloodsucking Freaks. Death Race 2000 to, Yes! Finally! one weekend, Dawn of the Dead. Midnight Movie Express was so special they even created this amazing trailer for it.

That was an incredible time for me and my friends and we had no idea how lucky we were to be in high school with lenient parents and brand new driver’s licenses during the brief window it lasted. Almost all the movies screened were fun in their way, some of them simply for the audacity with which they trampled over taboos, while others were genuinely inspired films that I still count as among my favorites. Dawn of the Dead is clearly in the latter category. I knew going in that it was going to be an incredibly gory zombie film, but what I didn’t know was that it was going to be a sometimes comic, sometimes tragic portrait of a country in perpetual civil war. I didn’t know that it would introduce me to four characters as real as friends or portray a newsroom in a state of chaos and panic as hilarious and horrifying as anything in Network (or happening live today.)

I was just learning how much I could learn from these movies.

We’re still learning from them.

RIP George A. Romero

Calvin Lee Reeder
Night of the Living Dead is public domain. It used to be called Night of the Living Flesh Eaters but when the title card was changed the distributor forgot to copyright it. So Romero made no money. NO MONEY on fucking Night of the Living Dead. But other people made money, lots of other people. I guess some folks will read that and think the lesson is “Copyright and lawyer up.” That’s valid. But for me, it says the business is full of non-creative money vampires. They’re gonna find a way to suck your blood if you have a lawyer or not. And if the objective is to make money alone, then chose the path of the non-creative money vampire. They sleep ironically well.

But if you’re a creative person, you don’t have a choice. It’s a life sentence. George Romero served a beautiful life sentence and if you’re reading this, you don’t need me to tell you how important he is. He knuckled up, he pressed on, he fought the vampires with zombies and carved out a place in the movies that didn’t exist before. George Romero is resilience. If you make movies, you need that more than anything else. It’s a different world than the one Romero came up in, but you could say that about Jesus too. I’ve only read six pages of the Bible, but I’ve watched Romero my whole life. I still want to be just like him.

Clay Liford
If George Romero isn’t the biggest early influence on my filmmaking career, he’s certainly in the top 10. My little-seen first feature, A Four Course Meal, is a direct product of someone loving Creepshow way too much. Calling it an homage may be leaning on the charitable side. Romero invented the space in my brain for horror-comedy. To that point, he basically invented the space which accepts that horror films can talk about stuff other than jumps and screams, Dawn of the Dead being the first socially conscious horror film I ever saw. In fact, that movie means so much to me, it motivated the one and only “movie pilgrimage” I ever made. I was in Pittsburgh on a job, working 18-hour days. We had one day off, mostly to do laundry. But I saw the time as an excuse to visit the Monroeville Mall, clearly the most important mall in cinema history. It took my some spelunking, but I made off with a few pristine copies of the Monroeville Mall map. Some people look at my innocuous map and wonder why I have such an item on prominent display at my home. Others, the cool ones, totally get it.

Read the full article here…

July 16, 2017
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R.I.P. George Romero

In a 2016 interview with Indiewire, Romero reflected on the legacy of “Night of the Living Dead.”

“When we made the film, I thought that we were talking about miscommunication — people who, even when faced with impossible and improbable situations, still argue among themselves about petty things rather than facing the problem,” he said. “I find that this is still going on today. That’s all I really care about.”

July 14, 2017
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Fessenden wins best performance at the Develop Awards!

Fessenden nabs Best Performance at the Develop Awards 2017.
Now available for PS4, Super Massive’s Until Dawn: Rush of Blood.
Competition was stiff:

Text of the press release:

Guildford, UK – 12 th July, 2017: BAFTA-winning independent British developer Supermassive Games picked up the award for “Best Performance” at the Develop Awards 2017.

Larry Fessenden’s performance in Until Dawn: Rush of Blood was voted top out of nine distinguished competitors including Doug Cockle in The Witcher 3: Wild Hunt – Blood and Wine and John DiMaggio in LEGO Dimensions Adventure Time Level Pack.

Pete Samuels, Managing Director of Supermassive Games said “Working with talented actors to bring believable performances to the characters in our games is hugely important to us, so we were delighted to collect the Best Performance award for Larry’s portrayal of Dan T in Until Dawn: Rush of Blood. We love working with Larry, both as an actor and writer, and look forward to future collaborations.”

“It’s a thrill to be in the company of these other nominees, and I would never have imagined carrying the day,” Larry said. “I would like to thank Supermassive Games for giving me the opportunity to bring Dan T to life, and I’d like to thank the animators there for giving my performance a little extra jolt.”

About Supermassive Games:

Supermassive Games are a BAFTA-winning, independent game developer with a reputation for innovation in both storytelling and VR. The studio has released a number of successful titles and are best known for the critically acclaimed PS4 hit Until Dawn. Supermassive Games recently announced three new titles coming for 2017 – Bravo Team (PSVR), Hidden Agenda (PS4) and The Inpatient (PSVR).

About Larry Fessenden:

Larry Fessenden is an actor and producer and the director of the art-horror films No Telling, Habit, Wendigo and The Last Winter, as well as he TV films Skin and Bones and Beneath. He has operated the production shingle Glass Eye Pix since 1985 with the mission of supporting individual voices in the arts.

July 13, 2017
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The Egg and the Hatchet to screen at MARFA 2017

writer/director Chris Skotchdopole’s GEP-produced short
The Egg and the Hatchet will screen at the Marfa Film Festival.

CROWLEY THEATER
Friday 7/14

July 11, 2017
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Cutting Room #87 – The Lodger

July 8, 2017
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Indiewire: Shudder Labs roundup

The Shudder Labs team included Glass Eye Pals
Peter Phok, Jenn Wexler, Clay MacLeod Chapman,
Colin Geddes, Travis Stevens and of course our host Sam Zimmerman.
From Indiewire:

How Shudder Is Fostering a New Breed of Horror Directors

Seven filmmakers gathered in upstate New York to workshop their new horror projects. Here, they reflect on what they learned.

July 7, 2017
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AV Club: Larry Fessenden’s post-horror movies

As luck would have it, I was settling in for a Larry Fessenden double feature the same night that Twitter—or, at least, the small corner of the platform occupied by film writers and cinephiles—was working itself into a tizzy about an article in The Guardian postulating a new subgenre of “post-horror.” The basic thrust of the Guardian article is that recent films like It Comes At Night and A Ghost Story are changing the horror paradigm by adding talky drama elements to genre narratives, which is exactly what Larry Fessenden was doing in the ‘90s. His 1991 debut feature No Telling combines a Cassavetes-esque relationship drama about a marriage in decline with the bare-bones structure of the Frankenstein myth, as an obsessive medical researcher turns to neighborhood pets after he finds himself unable to procure the animals he’s convinced he needs to complete his research. The result is rather like a naturalistic take on Re-Animator cut together with scenes from A Woman Under The Influence, as strange as that may sound.

That particular film also touches on themes of animal rights and environmentalism, displaying a social consciousness that was developed more fully in Fessenden’s follow-up film, 1995’s Habit. Like this year’s Colossal, Habit uses an alcoholic protagonist as a metaphor to tie in with the film’s fantastic elements; in this case, it’s Lower East Side resident Sam (Fessenden), who’s been a complete drunken mess ever since his girlfriend broke up with him and his father died within a few months of each other. Meeting the enigmatic Anna (Meredith Snaider) at a Halloween party ignites an obsessive affair unlike anything Sam has ever experienced in his life, but as their nightly rendezvous grow more intense, Sam starts feeling, well, ill. Blending classical vampire imagery—Anna is allergic to garlic, and can’t come in to Sam’s apartment without an invitation—with the pervasive fear of AIDS that hung over every sexually active person in the ‘90s, Habit is not only a metaphorically rich horror-drama hybrid, but a time capsule of the last gasp of bohemia in downtown Manhattan.

Both of these films are available in Shout! Factory’s Larry Fessenden Collection boxed set, and No Telling is also currently streaming on Shudder.

Read the full article…