March 27, 2015

Dreg @TerryMWest


Author: Terry M. West
Publisher: Pleasant Storm Entertainment, Inc.
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Terry M West's Dreg
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Louisiana. 1940.
Madness thrives in the Pointe au Chien and a dark legacy is embraced. A bayou boy is baptized in city blood and a pack as old as time rises from the swamps. A man beast escapes his shackles, and the hunt begins- a hunt that will last for decades. A hunt fueled by the moon. For when the moon is full, the beast rises. And the blood flows.
Houston, Texas. 1999.
Lucas Glover is a local psychic who assists the police. Lucas' supernatural abilities are faltering and his health has been greatly affected by his gift. He is brought in by the police commissioner to help profile and track down the Keepsake Killer. The Keepsake Killer is a mass murder who has eluded the police for almost two decades. Lucas is partnered with William Harlson, a hard as nails, skeptical and terminally ill homicide detective who sees stopping the killer as his last hurrah. As the investigation progresses, Lucas is plagued by strange dreams and he develops a connection with an otherworldly force that slowly reveals the origins of the killer. Lucas discovers that he is dealing with a primal force of nature far more dangerous than any human serial killer. And when the Keepsake Killer strikes close to home, Lucas has to push his abilities farther than they have ever been pushed. Even if it kills him.
Author Terry M. West is back! With him comes action,gore, and suspense and I loved every single morsel of it. It is hard to turn a sub-genre on its head, but if anyone could do it; it is Mr. West.

Does he do it with Dreg?

Yes! He takes a traditional horror baddie and redefines it with such style and substance. From the opening pages of the book we(the readers) are greeted with an odd clan and quickly we learn these people aren't the normal neighborly type. Fast forward fifty years or so and we are splat in the middle of a murder mystery. Psychic Lucas Glover is tasked with helping the local authorities track down a serial killed named 'The Keepsake Killer'.

The story is full of twists to keep even the casual reader salivating for more but yet teeming with gore,violence, and everything else veteran horror fans look for. The author originally published the story in 2003 but decided to edit the brutal tale and re-release it.

If you are looking for a new spin on an old classic then look no further than "Dreg". Mr. West has conjured up a mythical tale rooted in reality that is sure to have you howling at the moon.

March 24, 2015

WYH Recap: 01/08/2015 - Laurence R. Harvey Interview @laurencerharvey @withoutyourhead

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Recap of Laurence R. Harvey on
Without Your Head Horror Radio, 01/08/2015
by Vic Schiavone

Interview on YOUTUBE and WYH

Hosts Nasty Neal, Annabelle Lecter, and Terrible Troy welcomed longtime friend of the program Laurence R. Harvey, best known for his role as Martin Lomax in the movie “The Human Centipede 2”.  During the course of the 1 hour and 45-minute interview Laurence discussed several of his current projects including the long-awaited “The Human Centipede 3”, due for release sometime in the first half of 2015.

Highlights included the following:

WYH:  What can you tell us about your character in Human Centipede 3 or when it is coming out?
LRH:  “Well, the character is called Dwight Butler…What can I say?  I can’t say very much. I have no idea when it’s going to be released; I haven’t been told.  I haven’t been given a date for the cast and crew screening.
All I saw was what Tom (Six) put on Twitter yesterday, which was that the MoviePilot website had announced that it was going to be released on June 20th, and Tom pooh-poohed that and said it would be out before then.  That’s all I know; it’s going to be out before June.”  
WYH:  Is there any worry at all that “Human Centipede 3” won’t live up to expectations?
LRH:  “No…As I have always said, it’s not going to be like the first film or the second film; it’s going to have its own distinct look, style, and feel.  It’s more of a satire, it’s more American, rich colors, and yeah, it’s not going to try and outdo the gore of Part 2, but the gory scenes in Part 3 are ones that really make you kind of cross your legs and OOOH…
I just think that some people expect it to be more gory and more horrible than Part 2, and I’m saying there’s a little less gore and it’s more shocking in other ways.  Part 2, the last half hour it’s just one thing after another, BAM BAM BAM BAM BAM.  Here, in this film, the idea kind of evolves over time, it becomes this huge thing and then there are moments…the violence isn’t all saved till the very end. 
I doubt it will be as much of an ordeal to go through the violence, but the moments of violence are there to make you go OOOH, and they’re kind of spread out throughout the narrative.  I think I may have overstepped what I can say there, but that’s just my opinion.  I haven’t seen it when it’s edited, or what it looks like with the color treatment or how it is with the sound, so maybe I’m talking complete rubbish.”  
WYH:  When Entertainment Magazine covered “Human Centipede 3”, were you surprised since it’s a mainstream magazine?

LRH:  “They covered Human Centipede 2.  They had the exclusive rights to bring out the first interviews when the film came out, so I wouldn’t be surprised if they’ve got a similar deal for Part 3…Entertainment Weekly is a big fan of Tom’s and Tom’s work, and Weekly seems a whole lot more geared towards “geek culture” - interested in horror and science fiction and superheroes, increasingly, because that’s where most mainstream entertainment is heading. 
Even though Human Centipede films aren’t mainstream entertainment, the first one kind of broke into mainstream consciousness anyway, so they’re part of the mainstream even though they’re not mainstream films.”

WYH:  Without detail, do you feel that because “Human Centipede 3” is being taken in a new direction in some ways do you think that it could break into a broader audience, or do you think there will be more hesitation to be associated with the films in any way?
LRH:  “When the first film came out, some people loved it and some people hated it.  When the second film came out, some of the people that hated the first film loved the second one. Some of the people that loved the first one also loved the second one.
Some people loved the first one but not the second one.  The third one is going to have its own audience in the same way.  Some people will love all three, some people won’t love one of the three, and like with the two previous ones, as Part 2 brought in new people who went back to Part 1, reassessed it, and then saw Part 2 because they’d heard Part 2 was so good, I think that will happen with Part 3 as well.
People will see Part 3 and go, ‘Oh, maybe I should go back and watch the other two.’  The three films are so different, but share this thematic link.  Whenever somebody comes to the films new, whatever film is their entry point, then they always go back and reassess or relook at the previous films.”
Other topics discussed included:
How did different countries react to “Human Centipede 2”?
What was it like for him to work with Dieter Laser?
What other projects does he have on the horizon?
Does he enjoy doing short films such as “Call Girl”?
How would he compare fans at a horror convention in the United States to fans in other countries?

Be sure to check out the WYH Facebook Group and join in with Neal, Annabelle, and the rest of the headless ones.

March 19, 2015

WYH Recap: 12/11/2014- Herschell Gorden Lewis and James Saito @withoutyourhead @BloodMania

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Recap of Herschell Gordon Lewis on
Without Your Head Horror Radio, 12/11/2014
by Vic Schiavone

Herschell Gordon Lewis on Without Your Head Horror Radio, 12/11/2014
Interview On YOUTUBE and WYH

Hosts Nasty Neal, Annabelle Lecter, and Terrible Troy welcomed “The Godfather of Gore” Herschell Gordon Lewis.  Herschell, along with producer James Saito, participated in a roughly 75-minute interview which centered around the new anthology film “Herschell Gordon Lewis’ Bloodmania”, which is due to be released in Spring 2015.

Highlights included the following:

WYH:  What made you decide to get back into making films?
HGL:  “This is what I do.  I have a good time; I enjoy the business immensely…I feel too many of the movies today are…the word I use is “derivative”.  You think you’re watching the same movie over and over and over again.  Besides which, they lack a total sense of humor.  I think the industry has gone far enough now that that is an element that we can add profitably both from our point of view in getting people to look at it and from their point of view so after they’ve screened this thing, whether it’s in a theater, or in their bedroom, or on the little handheld device which I still don’t understand as an entertainment medium.  After that, they do not say ‘Yeah, I’ve seen all that before.’  They don’t say that with “Herschell Gordon Lewis’ Bloodmania.””  
WYH:  Was it always important to you that at the end of the day there was some humor in your films?
HGL:  “When I shot “Blood Feast”, “Blood Feast” has a couple of distinctions.  First of all, it was the first splatter film ever by anybody since motion pictures were invented back by Edison or somebody.  Second, it had to be one of the cheapest movies anybody ever made, and the combination of that is quite bizarre.  And yet, with all those limitations, “Blood Feast” has a spot in history. And after I saw that movie, having cut it, and being forced to screen my own work, which is like forcing a dog to eat its own excrement, I said to David Friedman (who was my partner at the time), 
“What if we made a decent one?”...So we shot “Two Thousand Maniacs!”, which was the first one that had even an overtone of humor.  I would sit anonymously in theaters…just as though I was somebody who walked into the theater and look for audience reactions…When I looked at that, I saw what got people to move slightly in the chairs, to shift upward a bit. 
They were expecting something different, and we gave it to them with little touches of humor. Eventually, with a movie I made called “The Gore Gore Girls”, humor and gore became 50/50 partners, and that taught me something else about this business.  Anybody over the age of let’s say 45 or 50 felt we should be executed.  Anybody under the age of 45 or 50 said ‘Hey that was entertaining’.  Well, that’s something I hadn’t expected about one of my pieces of crap; that somebody would say it’s entertaining.  So, it gave me another dimension on this kind of movie.”
WYH:  What was your reasoning behind wanting to do an anthology film?
JS:  “We had initially discussed doing a feature film that Herschell had written a script for, but for various reasons it didn’t quite work out in a timely fashion…Herschell and I started talking and we said, ‘OK, let’s try the anthology route’.  It just kind of developed from there.
There was certain criteria that we decided we had to have, and we went through various writers, various producers joining the team at various points, but finally we ended up coming up with four stories that are distinct.  All of them kind of pay homage to various genres.  There’s one that’s very 80’s splatter, one that’s just a straight-out horror tale, one that’s a comedy, one that’s a psychological thriller.  The combining thread in them all is of course the Herschell-style gore, and we were trying very hard to have like a Twilight Zone ending to each of them.”
WYH:  How many of the stories were you involved with?
HGL:  “I wrote one front-to-back, I directed two of them, and the other two were directed by people Jim will tell you about…I was first…opposed to the notion, because I felt that the whole project was resting in too many sets of hands.
Since then, I’m come to believe something altogether different…and that is that in a movie like this, where you have four episodes each of which is totally different from the other three, somebody may screen this thing and say, ‘Well, I sure didn’t like that one, but the others…’.  It gives you another shot at them…It gives them many a chance to like what we did even though they may dislike one of the episodes in there, because each of them appeals to a different emotion…I’m just very pleased to have been associated with this one.”

Other topics discussed included:
What was it about “Bloodmania” that made him decide this was something he wanted to be a part of?
Who were the other two directors involved in “Bloodmania”?
Who or what inspired him to get into movies in the first place?
When he started out doing these movies how hands-on was he with the gore effects?

For further information about “Herschell Gordon Lewis’ Bloodmania”, go to their website, visit their Facebook site, or contact them on Twitter at @BloodMania. 

Be sure to check out the WYH Facebook Group and join in with Neal, Annabelle, and the rest of the headless ones.

March 11, 2015

WYH Recap: 03/13/2014-Srdjan Spasojevic @withoutyourhead

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Recap of Srdjan Spasojevic on
Without Your Head Horror Radio, 03/13/2014
by Vic Schiavone

Srdjan Spasojevic Interview on WYH 03-13-2014 logo

Hosts Nasty Neal and Annabelle Lecter welcomed Serbian filmmaker Srdjan Spasojevic to WYH Horror Radio for a rare hour-long interview.  Srdjan is best known as the director of the controversial movie “A Serbian Film”.

Highlights included the following:

NN:  In the early stages of  “A Serbian Film”, was it always the intent that the movie would be a metaphor for life and art in Serbia, or did you just want to make a movie?
SS:  “For me, it’s let’s make a movie.  I was never much of an analyst or a critic or reviewer guy.  I’m trying to make a film, and to say or just to incorporate my feelings inside it.  So it’s on other people, people who are analysts or movie critics, to talk about that.  For me, the beginning was let’s make a movie.  It was six years ago when we started to talk about that idea and that film.
As I can remember, maybe the first thing that was mentioned was ‘man trapped into the hell of the underground illegal porn industry’.  That would probably be my view of the world around me; the whole world that I’m living in.  My first intention was really to incorporate my deepest and honest feelings that I have toward the world that I live in and to make the best film that I can.  After that, probably when the work concretely starts, lots and lots of other themes are starting to be added and incorporated in the film also.”  
AL:  Did the depth of this film, for it obviously had a very deep meaning with so much symbolism, grow to this level where you became more attached?
SS:  “I was aware, of course, but I didn’t think about it that much.  Sometimes it happens that I listen to some analyst talking about my film and I say, ‘Wow, it’s really there!’, but I didn’t realize it.  In my defense, I approach a film instinctively and emotionally.  So, those things could happen.  As I said, I’m not much of an analyst; talking about what did you want to say, what were your intentions, or things like that.  It’s not always easy.”
AL:  Can you give us a good sense of what life is like in Serbia and why it was so important for everyone to be involved in this film?
SS:  “Tough question, and there is like a political smell here.  Life in Serbia is not easy.  It’s Eastern Europe, traditionally not too involved in an industrial business economy way, so life isn’t easy.  Of course, we are not like some jungle people; life in Serbia could be very interesting, and civilized people from Western Europe and even from the United States find  very interesting things in Serbia, like nightlife, discos, restaurants.
It’s a varied picture; a very hard life and very crowded and very colorful during day and night.  But, years and years of the bad way that we were going like the majority of Eastern Europe made lots of wounds on our bodies and on our souls.  It’s not about saying something; this film is probably more of a scream.  We gathered the crew and it’s like we wanted to scream together.
I don’t know; someone will take that scream as annoying, someone will take that scream as a scream for help, someone will say it’s so artistic it’s like a nice tune.  It’s hard to answer the question, but maybe it was screaming.”
AL:  Do you hope this movie plays on the conscience of those people who you are portraying as villains; do you think they might get something out of this?
SS:  “No; no way.  My intention as I said was to scream and to put my feelings on the paper, on the screen.  I can’t change the world; if someone finds this as motivation to do something good, great.  If not, I’m sorry.  I made this film dark, because dark and bad stuff move me to do good.  Maybe someone doesn’t feel that way.  Your previous question was about the audience; reactions were almost similar in any state or any place.  Lots of mixed extremes one way or the other; some people hated it very much, some people liked it very much.  For any film the reaction goes different ways.
There is no film made for everyone, or there is no film that everyone will say ‘Great!’.  But it’s always easier to pick a film like “A Serbian Film” or any similar to say listen how bad things are being said about this film, lots of people are leaving theaters, and so on and so on…it’s always easier to pick on movies like this.”
NN:  When you get that kind of reaction, when people actually walk out of the film, how do you take that?
SS:  “Even if I said I was approaching it emotionally and instinctively, I didn’t approach it stupidly.  I was aware that lots and lots of bad reactions would be around the film.  If I said bad things about the world, I have to expect that the world will fight back.  I didn’t expect that flowers will be thrown on me or some awards or Nobel Prizes.  In the film, I pictured a world that was really mean, so I didn’t expect nice things from it.”   

Other topics discussed included:

  • How has “A Serbian Film” changed his life?
  • Does he consider “A Serbian Film” to be a horror film?
  • Once he had the script written, how hard was it to get people involved in the movie?
  • How did people in Serbia react to this film?
  • How did he feel about people showing or owning the film being threatened legally?
  • What did the villain in “A Serbian Film” (Vukmir) represent for him?
  • Did he have experience in other kinds of art before he started making films?
  • What kind of films did he enjoy growing up and how has that changed over time?
  • Are there any recent movies that he has been drawn to?

Be sure to check out the WYH Facebook Group and join in with Neal, Annabelle, and the rest of the headless ones.