Volume Two of Gregory Lamberson's The Jake Helman Files Coming October 1st - Dread Central
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Volume Two of Gregory Lamberson’s The Jake Helman Files Coming October 1st

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Filmmaker Gregory (Slime City Massacre) Lamberson also has a successful side job writing the horror novel series The Jake Helman Files. Volume One, Personal Demons, is getting a sequel, entitled Desperate Souls, which is being released as a trade paperback on October 1st.

Published by Medallion Press, The Jake Helman Files already has two more volumes, Cosmic Forces and Tortured Spirits, set for completion in 2011 and 2012, respectively. In addition, occult detective Helman is poised to enter other media.

From the Press Release:
“This is my big, ongoing project,” says Lamberson, whose werewolf novel The Frenzy Way was published in June and whose new film Slime City Massacre (review here) is currently playing on the film festival circuit with a DVD release in the wings. “I originally wrote Personal Demons as a screenplay back in 1989, but the story was way too big for the kind of budget I’m able to raise as an indie filmmaker. I revisited the tale more than a decade letter, expanding its scope. A small press published the book as a limited edition hardcover in 2004 and as a small press trade paperback in 2005. I wanted to go to a series then, and started developing additional stories, but didn’t see any point in writing them until I had a mass market deal.”

When Medallion Press acquired the mass market rights to Lamberson’s second novel, Johnny Gruesome, the author immediately pitched the Jake Helman series. “Ali DeGray heads the horror line for Helen Rosburg, who owns the company, and Adam Mock, the president. All three of them loved the book, and Medallion published the mass market paperback version last year. Now they’ve committed to three additional books in the series, plus they co-produced Slime City Massacre. We have a very unique author-publisher relationship, and I’m lucky to be with them.”

The Jake Helman Files mixes horror with other genres such as science fiction, crime drama, and noir, bound together by large scale action sequences. In Personal Demons, fallen from grace ex-cop Jake Helman tangled with a billionaire genetics tycoon, a serial killer who stole the souls of his victims, and the Biblical Cain and Abel. Desperate Souls pits the reluctant hero against criminals who use a street drug called Black Magic to create an army of voodoo-style zombies, resulting in Helman’s one-man war on the undead in the streets of Manhattan.

“Jake is different from other characters who battle the supernatural because I make him suffer,” explains Lamberson. “When you have a continuing character in any series, readers know he isn’t going to die, and the character moves on to his next adventure. Jake endures severe emotional and physical trauma in each book, and he wears those scars forever. By the end of the series, he’s going to be a real mess.”

Lamberson has plotted six Jake Helman Files in total but hopes the character will continue beyond that number. “Each novel is a self-contained story, but there’s an overriding continuity, like on a serialized TV show, and by the end of the sixth book I’ll have told an epic horror story. But I’m already laying the groundwork for additional Files. I love this character and want to punish him for a long time to come.”

Audible.com has acquired the audio book rights for Personal Demons and Desperate Souls, and on Saturday, September 11th, Medallion is hosting a unique “online, interactive book signing” for Desperate Souls. Readers who register for the event will communicate with Lamberson via webcam, chat room, or traditional email, and he’ll personalize a copy of the book to them, which Medallion will ship; purchase of the book is required as part of the registration process.

“We did a similar signing for Personal Demons last year,” Lamberson concludes. “It was a lot of fun because people joined me from different time zones and countries, and I was able to communicate with them all at once. It’s one more cutting edge development in the publishing industry.”

For more info click the above link for the book signing and/or visit the official Greg Lamberson website.

Volume Two of Gregory Lamberson's The Jake Helman Files Coming October 1st

Debi Moore

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Exclusive: Patrick Brice on Creep 2

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Patrick Brice blipped onto our radar a couple of years back with his audacious horror film debut, Creep. He directed the film, plus he cowrote and co-starred in it with Mark Duplass (interview) (Baghead, Manson Family Vacation). Creep introduced Aaron, an affable serial killer who lures people to his remote cabin by placing ads promising a fun filmmaking experience… while you could see where the story was going in terms of plot, what made it so striking was the way in which it was written and directed. There’s a massive amount of dread throughout.

Brice is back for Creep 2 (review), and we caught up with him to ask about it.

Dread Central: It must have been hard to try to top Creep. Or did you already have a sequel in mind?

Patrick Brice: It’s funny, but when we made the first movie, we had no idea we would eventually be making a sequel. So we didn’t necessarily set ourselves up for an easy road that way. It ended up being something we had to reverse engineer a bit. And we had actually came up with maybe three or four other ideas for Creep 2 before we landed on the one that we ended up shooting. Including a feature length screenplay that I had written but I shelved because it didn’t feel right. And so, it was a combination of things in that we didn’t want to make a sequel until we knew there was an audience for it. Once we realized the first Creep had caught on in the way it did, that was when the idea of making one did started to come up a little bit. Then it wasn’t until we landed on the idea we landed on, sort of the approach we ended up taking, that things started to feel right and it started to make sense with going forward to making one.

DC: Is you audience mainly horror fans? Because it seems serial killer stories are mainstream now, what with “Hannibal” having been on network TV and now we have “Mindhunter” on Netflix.

PB: I’d say a lot of horror fans, and, I think people with masochistic tendencies as well. I think it’s a pretty dark endeavour for an audience to be brought into with that movie. I think because of the sort of minimalist approach, when you’re watching it, especially when you’re watching it alone, it demands a different kind of attention than a normal movie. Because the Creep is only two characters, if you’re an audience member, you essentially become the third character in the movie, bearing witness to it. So I’m grateful that people are willing to engage with this type of material in that way. I’m also just surprised by it because I think it’s a challenging film on some level. I think it’s a rewarding film. And I think if you’re willing to give in to the conceit of it and willing to take the ride, it is a rewarding experience, but I also completely understand anyone who’s not willing to do that, just because it is such a specific thing. And so going into a sequel, there was a certain amount of confidence that we had associated with a lot of the decisions we were making that would have felt strange and odd with the traditional movie being make in a traditional way, but because we were doing it this way and kind of replicating at least the production style of how we made the first one, we were willing to take that leap a little bit more than we would normally do.

DC: Would you consider dropping the found footage format if you do another Creep movie?

BP: Completely. I think that down the road that would be a nice surprise and a nice way to inject sort of a new form into the story telling. One of the things that’s been fun with Creep 2 and thinking about other Creep movies is giving in to that sort of style completely and letting that be something that informs the character. A huge thing with cracking the second movie was creating the character of Sara that Desiree Akhavan (interview) plays and giving her her own specific needs and motivations for being there, which then hopefully justifies the camera being on. That is the big challenge with found footage movies. It’s something that Jason Blum says that all the time, ‘don’t make a found footage movie unless the story dictates it.’ And so we knew we wanted to do it this way and so it was really delving into character and sort of the more emotional side of things to justify that.

DC: One of the intriguing things about Aaron is that he has no backstory. But it seems eventually audiences demand origin stories and prequels. Will you reveal how Aaron got started someday?

PB: It’s something that’s emerging, having made the second one. We have him tell two long monologues. And it’s detailed, it’s very specific, it makes sense as far as the character goes, but there is still this layer of knowing that this guy is a pathological liar and none of this could be true. And so the hope with that was to have this be a story that convinces Sara, the other character in the film, that it’s true but the audience once again, existing on this other level where they know what this guy’s capable of, they also know he’s a total liar and it may or may not be real.

DC: Do you see yourself ramping up the horror if there are more Creep sequels?

PB: I still think there’s a lot of places to go in terms of the horror aspect of it. I think we only scratched the surface with the second one. I think it made sense we sort of upped the blood and gore with the second movie but also, like you said, kept things pretty much in the space of just uncomfortable tension for eighty minutes. I think that’s something that always going to be our ultimate goal with these movies and that’s sort of the trademark of these movies. What’s nice about knowing that there’s other places things can go whether it be, further into the slasher genre, further into the supernatural, we’ve got some options and we’ve left a lot of doors open in terms of having other avenues to explore.

DC: Any horror stories on the horizon apart from Creep 2?

PB: Yes, actually. I’m going to be directing a few episodes of “Room 104” on HBO and at least two of them are horror based. I’m really excited about that, because I get a chance to delve into more pure classical horror than I’ve been able to do with Creep movies.

Written by Patrick Brice and Mark Duplass with Brice directing, Creep 2 stars Duplass, who reprises his role from the first film, and Desiree Akhavan.

Synopsis:
CREEP 2 stars Desiree Akhavan as Sara, a video artist whose primary focus is creating intimacy with lonely men. After finding an ad online for “video work,” she thinks she may have found the subject of her dreams. She drives to a remote house in the forest and meets a man claiming to be a serial killer (Mark Duplass). Unable to resist the chance to create a truly shocking piece of art, she agrees to spend the day with him. However, as the day goes on, she discovers she may have dug herself into a hole she can’t escape.

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Exclusive: Director Dennis Bartok and Lead Shauna MacDonald Talk Nails

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With writer and director Dennis Bartok’s feature film Nails having bowed Friday on VOD via Dark Sky Films, here’s a bit of our interview with the flick’s filmmaker, Cinelicious Pics Head of Distribution and General Manager of the American Cinematheque Bartok (he wears many hats), as well as the film’s star, Shauna MacDonald (of The Descent series).

Nails revolves around “…track star Dana Milgrom (MacDonald), who, having survived a near-death car accident, finds herself almost completely paralyzed and trapped inside her own body, and while recovering, she becomes convinced that some evil presence exists inside her hospital room and is intent on killing her,” and was executive produced by Joseph Kaufman (Assault on Precinct 13) and produced by Brendan McCarthy (Cherry Tree, The Hallow).

Bartok, who previously wrote and produced the 2006 feature anthology film Trapped Ashes, said of his approach to the narrative of Nails, “It’s very ‘anti-flight.’ Most horror movies are built around the idea that you are running away from something. The Halloween and Friday the 13th movies, there’s a mysterious creature that’s trying to track you down, or conversely you are walking into some horrible haunted house that nobody in their right mind would ever go into, for example, The Woman in Black, which is a really terrifying film. But from the very first moment Daniel Radcliffe’s character goes up to the front of that house, the audience says, ‘Turn around! Get the hell out of there! You are going to die!’ And of course he walks in. So I was really fascinated by a narrative in which the lead character was physically trapped in one space, and actually trapped in her own body. So I thought a lot about narratives like The Diving Bell and the Butterfly, The Sea Inside and Hitchcock’s Rear Window, where the protagonist is physically handicapped and forced to confront that, so both as a writer and as a filmmaker and for Shauna it was a huge challenge, in that how do you make that (type of story) kinetic and compelling, and how do you build suspense when the lead character is trapped in the bed for eighty percent of the story?”

MacDonald said of the script’s appeal, which is a departure in ways from the action-packed The Descent films for which she’s most known, “Oddly, I don’t want to be labeled a horror girl, although the older I get, the cooler I think that sounds. Certainly in the UK they like to fit you in the box of low-budget horror films, and every year after The Descent (films) I get scripts to read, and some of them would say, ‘OK, the lead actress is tied to a stained mattress in her underwear,’ and I would be like, ‘Next!’ and for me, I knew it would be a massive acting challenge to play the lead (as it was written) in Nails, someone who is bed-ridden and paranoid and can’t speak. Her physical journey and her emotional journey is what attracted me to the role.”

“I think it’s important also that she has self-doubt,” MacDonald continues of her role, “and that she thinks she may be having a mental breakdown. No one else is seeing the things she is seeing or experiencing what she is experiencing, so I thought upon that a lot, and also I thought, as a mother of three girls myself, that the character’s connection with her daughter in the script was really heart-wrenching, and I love mother/daughter stories.”

Filmmaker Bartok added, “I thought very much about the bond between a mother and her daughter while writing it, and the sacrifice a parent would make in order to protect their child, and that was one of the main themes from the very beginning. When I set out to make the film I knew that there were two things that I needed to make it work. One was that I needed to make it scary, and to really unnerve people, and to build that suspense and a rising tension throughout, and the second thing was, that I’d really need someone amazing to play the character of Dana, because she’s in nearly every scene of the film, and we experience the story entirely through her perception. And if we hadn’t cast someone with Shauna’s acting gifts, the film would have fallen flat.”

In regards to casting the film’s antagonist, the gaunt, towering and ghostly figure of ‘Nails,’ Bartok states of actor British Richard Foster-King, of which he’d been introduced to via an audition tape for an entirely different movie, “Richard had done these beautiful movements (in that tape), as if he was swimming in the air and elongating his arms, and I think he had even crawled along the floor at one point. And as soon as I saw that tape, I said, ‘That’s it. That’s Eric Nillson. That’s Nails!’ And the producers, because they wanted to keep the budget as low as possible, had wanted to hire local actors out of Dublin, and I would look at those tapes, and they were OK, but I felt we really needed to get Richard. So bit by bit I kept saying, ‘No,’ to these other suggestions, and finally I was able to convince them to bring Richard in from London.”

As for the evolution of the character, which itself possesses some of the nuanced tragedy of Universal’s classic monsters, Bartok stated, “It was really fascinating because we had reached out to several gothic, surreal artists who had been recommended to me by various friends, and asked them to submit concept designs, and the one that we liked the best, and they were all actually excellent, was by a French photographic artist named Nihil, who takes photographs and then manipulates them digitally. So Nihil did an amazingly creepy concept, which provided the blueprint as to how we approached the character’s design. There were several steps in getting it onto the screen, though. Maybe seventy-five percent of it came from Richard’s physicality and his on screen presence, and the rest could only be achieved digitally, and we brought in an incredibly gifted visual effects artist named Eli Dorsey, who had worked on Ted Geoghegan’s film We Are Still Here. And Eli created the milky white eyes, and the dentures which kind of sit outside the palate, and the ghostly pallor. But primarily, I think its Richard’s performance which makes the character, an evil tormenting character who is also tormented, so very haunting.”

Nails also stars Ross Noble, Steve Wall, and Charlotte Bradley. You can watch the film on iTunes.

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Exclusive: studioADI and 20th Century Fox Unveil Stunning Alien 3 and Resurrection Art Collection

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Today, Yahoo! Movies have announced that studioADI, who we’ve seen this year in IT and will see next year in The Predator and in 2019 Godzilla: King of the Monsters, and 20th Century Fox Consumer Products have launched The studioADI Collection, a new initiative that will see the award-winning FX studio create art inspired by Alien 3 and Alien: Resurrection. The pieces that will come from this collection are not to be confused as collectible figures but should rather be seen as high-quality works of art as each one will be hand-crafted based on original molds and they will then be individually painted. Prices will range from $250 to $4,000 and they will go on sale beginning December 1st through Big Cartel.

StudioADI’s Alec Gillis states, “The studioADI collection is our tribute to the films that have been an important part of our legacy as artists. Each piece of art reflects the same detail and passion we poured into the characters when we created the original Alien films.

Tom Woodruff Jr. adds, “This is the collection designed for fans of these entries into the Alien franchise as well as aficionados of the art of creatures and monsters of iconic pedigree.

The studioADI Collection will include the following seven pieces:
Queen Alien Embryo from Alien³
Newborn Alien Design Maquette Bust from Alien: Resurrection
Newborn Alien Full Body Design Maquette from Alien: Resurrection
Swimming Alien Study Model from Alien: Resurrection
1:1 Alien Warrior Half Head from Alien: Resurrection
1:1 Newborn Alien Head from Alien: Resurrection
1:3 Scale Queen Alien Head from Alien: Resurrection

These are descriptions of two of these items:
“The Newborn” from Alien: Resurrection was the terrifying mix of human and Alien DNA gone wrong. This Full-Scale Bust is cast from hand-laid translucent polyester resin from ADI’s original production molds and is painted to the same exacting specifications by ADI’s painter who painted the character for the original film. The piece measures 30″x20″x40″

“The Queen Alien Embryo” was seen in David Fincher’s Alien³ was nestled next to the beating heart of Ripley, played by Sigourney Weaver. Cast in translucent urethane and hand painted by the same ADI artists who created the piece for the film in 1991.
At 7″ x 9″ this piece of art is perfect for desktop display.

Here are images of some of these pieces:

We got our hands on three exclusive images from this collection that add a glorious vision of how detailed and intricate these pieces are going to get.

The first image is of the back of the 1:3 scale Queen Alien Head from Alien: Resurrection. You can see that every square inch of the design is tended to and that no stone is left unturned when it comes to the mold and paint.

The second image shows the Newborn Alien Full Body Design Maquette from Alien: Resurrection from a wide, almost full-front angle. You can really see the spindly, almost delicate structure to its body while also being intimately aware of the grotesque yet hypnotizing physique.

Lastly, the third image is a closeup of the Queen Alien Embryo from Alien³. Here you can see just how detailed the mold is, each wrinkle and crease in the Xenomorph’s body etched finely and with precision.

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