Tag Archives: C.M. Saunders

Vampires, Zombies and Ghosts, oh my!

I am pleased to announce that my short story, Down the Road, is featured in part two of the new twin-volume anthology on Smoking Pen Press entitled Vampires, Zombies & Ghosts.

Here’s a sneak preview of the breathtaking cover art by Elle Rossi.

Vampires, Zombies, and Ghosts Volume2

I first wrote Down the Road, an alternate take on the phantom hitchhiker urban legend with one of my customary twists in the tail, several years ago. It was originally accepted by another publisher for a proposed new horror fiction magazine, but financial problems meant that project was put on hold indefinitely. After about two years in limbo, I finally accepted the fact that the project was probably never going to get off the ground, withdrew my story, started submitting it again, and here we are. It’s one of my more subtle, thought-provoking offerings. I am excited that thanks to the good people at SPP, it will finally see the light of day. Or the dark of night.

Vampires, Zombies and Ghosts (Volume 2) is out now on paperback and ebook.

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RetView #23 – Shocker (1989)

Title: Shocker

Year of Release: 1989

Director: Wes Craven

Length: 110 minutes

Starring: Peter Berg, Mitch Pileggi, Michael Murphy, Heather Langenkamp, John Tesh

shocker

I was 15 when Shocker came out, and so at PAA (Peak Appreciation Age) for horror movies. And a lot of other things, including heavy metal. One of the most attractive things for me about this movie was the soundtrack, which featured Megadeth covering Alice Cooper’s No More Mr. Nice Guy alongside songs by Bonfire and Iggy Pop. Most impressively, the title track was recorded by The Dudes of Wrath, a supergroup consisting of Paul Stanley (Kiss), Vivian Campbell and Rudy Sarzo (Whitesnake) and Tommy Lee (Motley Crue). It even featured powerhouse songwriter Desmond Child and members of Van Halen on backing vocals. All this considered, Shocker was a perfect storm of my two main obsessions coming together. Metal and horror. Although dubbed a critical and commercial failure at the time (though not really, as it raked in $16.6 million at the Box Office against a $5 million budget) it has since gained cult status, and deservedly so.

Parallels are often drawn between Shocker and Wes Craven’s seminal A Nightmare on Elm Street franchise. While the former is much more light-hearted, often venturing into campy horror comedy territory, there are similarities. In his 2004 book Wes Craven: The Art of Horror, writer John Kenneth Muir says, “Shocker was basically Craven’s response to the Freddy Krueger film series and to Universal Studios, which informed him they wanted their very own horror franchise à la A Nightmare on Elm Street. Accordingly, moments in Shocker echo Craven’s earlier milestone film. Both films open with grisly serial killers working in their den of evil, both feature non-believing parents who also happen to serve on the local police, and both films also dramatize the now-expected ‘rubber reality’ dream sequences.”

In Shocker, the Freddy Krueger role is taken by a new anti-hero, Horace Pinker (Pileggi, later to make it big as Walter Skinner in the X Files) who appears to highschool footballer Jonathan Parker (Berg) in his dreams. This proves to be nothing but a precursor, when Horace (isn’t it more endearing when savage comic villains are referred to by their first name? Freddy, Jason, etc) then butchers most of Jonathan’s foster family, much to the chagrin of his police detective foster dad (Murphy). Using his dreams, Jonathan leads a police squad right to Horace’s door, but the killer escapes, brutally murdering all the cops in the process (except his foster dad, who yells at him). He then kills Peter’s girlfriend in revenge (Langenkamp, from A Nightmare on Elm Street. Obviously a favourite of Craven’s, she was also cast in A Nightmare on Elm Street 3: Dream Warriors and Wes Craven’s New Nightmare). Shortly afterwards, he is finally apprehended and it transpires that he is actually Peter’s biological father (bummer!). He is then sent to the electric chair. What his executioners don’t know, however, is that Horace has struck a deal with the devil. The chair doesn’t actually kill him, but ‘frees’ him and turns him into pure electricity, enabling him to continue his killing spree by hopping from body to body. Jonathan eventually wins through, with the help of his dead girlfriend, by trapping his nemesis dad inside a television set leaving the path open for a sequel. The much-touted sequel, which was supposed to be the second instalment in a horror franchise to rival A Nightmare on Elm Street and Friday 13th never materialized, probably due to a combination of mixed reviews and shifting audience attitudes.

Some critics disagree, with Horrornews.net going so far as to call him ‘lame’ but IMHO Pileggi plays a remarkably convincing baddie, and with his bald head and trim physique is eerily reminiscent of a young Dana White. He does suffer a little from ‘Freddy Krueger Syndrome’ with all the banter and wisecracks (“C’mon boy, let’s take a ride in my volts wagon!”). However, despite its cult classic status, this film is not without its problems. One of the main sticking points is its length. At 110 minutes, it far exceeds the average 90 minute running time for this kind of genre staple and takes quite a while before it gets going. I blame the editors for that. Maybe a slightly shorter, more streamlined version would have fared better.

Trivia Corner:

According to Craven, the film was severely cut for an R (15) rating. It took around thirteen submissions to the MPAA before it was awarded an R instead of an X (18) which would have limited its appeal. Some of the scenes that were cut included Pinker spitting out fingers that he bit off of a prison guard and a longer and more graphic electrocution. An uncut version has never been released.


What’s in the Dead of Night?

Last year, after the rights to Apartment 14F, one of my earlier novellas, reverted back to me, I was finally able to polish it up and put out the version I wanted to. Now, I am giving the other book published by Damnation Books the same treatment.

I haven’t read this story for years. I don’t tend to go back and read stories once they’ve been published. It’s partly because I see writing as a continuous process. I’m a better writer now than I was eight years ago when Dead of Night first came out, and I’m probably a better writer than I was last week. But I have to say, this wasn’t as bad as I thought it would be.

From the double-meaning title to the cheesy one-liners and OTT violence, Dead of Night probably represents my first shambling steps into splatterpunk territory. It’s one of the first things I wrote that had a female protagonist. And no, it’s not because I’m sexist. I just didn’t think I would be able to write a strong female character convincingly. It took me a long time to realize that well, men and women aren’t very different after all. For this story, I thought I’d turn the usual set of circumstances on their head and have the gal saving the guy for a change. During the course of the story I grew very fond of Maggie.

I found the story flowed quite well, there weren’t many grammatical errors, and I was happy with the overall pacing. The only thing that lets it down is the fact that in some parts, it’s pretty dated. It’s been almost a decade since I wrote it. At the beginning, I had Maggie and Nick Arguing over what CDs to play in the car. Do cars even have CD players anymore? I suppose some still do. But for how much longer?

Dead of Night is packed full of pop culture references. Music, films, books. In the first version the dead celebrity Nick and Maggie discussed in the beginning was Michael Jackson. Since then Prince died, so for the reboot, Prince gets the nod. I always preferred his music anyway. There was a period in the second half of the eighties when he was untouchable. MJ does still get a name check, though, and I gave Meatloaf a nod by nicking one of the lines from ‘Paradise by the Dashboard Light’ (I’ll probably get sued for that). I even slipped in the phrase ‘motley crew.’ Proud of that one.

If you’re a connoisseur, you might catch some of the movie references, too. The ‘Romero’s zombies’ one is easy to get, and the whole Nick losing a hand thing is a thinly-veiled homage to Evil Dead. Butch Cassidy and the Sundance Kid also makes an unlikely appearance.

In a lot of my stories I drop the names of Cardiff City FC players, past and present. It’s kind of an in-joke nobody fucking notices except me. Steve McPhail and Jay Bothroyd are definitely from the past. I was going to update them, but then I decided it wouldn’t make much difference. McPhail and Bothroyd are still great players and deserve their place in history.

Reading it back now all these years later, though I might not have been aware of it at the time, Dead of Night is clearly a tribute to the King of splatterpunk, Richard Laymon. I even use the word ‘rump. ’ If you aren’t familiar with his work, the joke is that he used ‘rump’ A LOT. At every opportunity. A couple of times a page. It was one of his trademarks.

Perhaps the hardest adjustment I had to make when I knocked out the original version was that I had to write it in ‘American.’ I rarely do that. The vast majority of my stories are set in places I have lived – Wales, England or China. However, because the story is about American Civil War zombies, this one had to be set in America. There was no way around it. I have visited a few cities in America, but never the Deep South where the story is set. Some artistic license was used there.

I found a couple of continuity errors, even after two rounds of editing by the publisher. That sucked. I had my happy couple hiking several hours to their camp site, then ‘nipping back’ to their car to grab hoodies when it got cold. That was improbable. Perhaps even more improbable than the other stuff going on. Oh, and I know guns probably wouldn’t still work after being in the ground for 150 years or so but fuck it, I wanted them to work so they did. It’s my story.

Finally, I added about 2000 words, took out the chapters, and inserted more line breaks. I originally wanted to tell the story through two POVs simultaneously, flashing back and forth from one to the other. But of course, that’s extremely difficult to do without head-hopping all over the place, so line breaks it is.

Check out the all-new cover art by Greg Chapman:

dead-of-night-reissue

All things considered, I’m pretty happy with this reissue. The book has been out of print for a couple of years now, apart from a few ropy second-hand paperbacks floating about on Amazon. It’s an important part of my back catalogue, and I’m glad it’s finally available again.

Dead of Night (Revised edition)  is available now on paperback and ebook.


RetView #22 – The Descent (2005)

Title: The Descent

Year of Release: 2005

Director: Neil Marshall

Length: 100 mins

Starring: Shauna MacDonald, Alex Reid, Natalie Mendoza, Saskia Mulder

SAW_1Sheet_Comps

Following the runaway success of Dog Soldiers, British director Neil Marshall was inundated with offers to make films in a similar vein. Anxious not to be typecast, he was initially reluctant but finally agreed to make The Descent because the two projects were, “Very different.” He did, however, insist on making drastic changes to the script to make them even more different. The film was originally to feature a mixed cast, but realizing how common that is, Marshall opted on an all-female cast instead. The decision proved to be a masterstroke, winning the film plaudits and instantly setting it apart from many of its contemporaries. Discussing the film after its release, Marshall says, “We wanted to show all these terrible things in the cave: dark, drowning, claustrophobia. Then, when it couldn’t get any worse, make it worse.”

In a bid to overcome a recent tragedy in which her husband and young daughter are killed, Sarah (MacDonald) meets a group of friends. They decide to go caving together in the Appalachian mountains of North Carolina. Not my idea of a fun time, but ya know. No sooner are they underground, then a cave-in traps them there. Then it transpires that the cave system is unmapped, and that one of their number, Juno (Mendoza) had led them there deliberately so they could become the first people to explore it. This means rescue is impossible, and they are going to have to find their own way out. Whilst seeking a way out they make several discoveries that would indicate that all might not be as it seems, among them cave paintings, a mass of animal bones, and some old climbing equipment. So far, so weird. Things then take a turn for the gross when one of the girls takes a tumble and breaks her leg. I don’t know why open compound fractures (where the bone sticks out of the shattered limb) are so common in movies, but they are and the rest of us have to stomach them. While the rest of the girls are debating how to get themselves out of this mess, Sarah spies a pale, humanoid creature drinking from a subterranean pond. This, my friends, is our first glimpse of a ‘Crawler.’ Hideously deformed, carnivorous, cave-dwelling creatures who were once people, we are led to believe, but have been underground for so long they have mutated and evolved differently to the rest of us. Blind, they have enhanced senses of hearing and smell to compensate. They’re sprightly little fuckers, too. A bit like a cross between the inbreds in the Wrong Turn series and mini-golems. They aren’t very friendly, either, and soon attack our little group of transgressors. Suffice to say, it doesn’t go well for the girls. Juno accidentally stabs Beth (Reid) in the neck and leaves her to die, before later running into Sarah and lying about the whole thing. It is also revealed that Juno had an affair with Sarah’s husband before his death. After a confrontation, Sarah leaves her nemesis at the mercy of the Crawlers and makes good her escape, finding a way out of the cave and back to civilization. Except, in a brilliant twist ending, her ‘escape’ as actually a hallucination, and when she wakes up she’s in just as much trouble as her friends. More, in fact.

Whilst it is set in North America, The Descent was actually made in the UK. The exterior shots were filmed in Scotland, and the interior at Pinewood Studios, as it was deemed too expensive, problematic and risky to film in a real cave system. I don’t know what this says about different audiences, but it is interesting to note here that the US version ends with Sarah’s escape, leaving out the part where she wakes up still strapped in the caves. It was suggested in Entertainment Weekly magazine that this was done because after such an emotionally draining cinematic experience, American audiences wouldn’t appreciate the ‘uber hopeless’ finale. Evidently, however, British audiences prefer their endings to be uber hopeless. The more hopeless and depressing the better. Something else about this film that fucks with your head a little is the depiction of the Crawlers, who count females and vulnerable-yet-still-nasty children amongst their number which obviously means they’ve been multiplying down there. The Descent was followed in 2009 by a sequel, again staring Shauna MacDonald. However, despite having a much bigger budget, this was a comparative failure and struggled to break even.

Trivia Corner

The film’s marketing campaign in the UK was disrupted by the London bombings of July 2005. Advertisements on the city’s public transport system had included posters carrying the quote, “Outright terror… bold and brilliant,” and depicting a terrified woman screaming in a tunnel. The posters were recalled, and the campaign reworked to exclude the word “terror” from advertised reviews of the movie. The distributor’s marketing chief, Anna Butler, said of the new approach, “We changed tack to concentrate on the women involved all standing together and fighting back. That seemed to chime with the prevailing mood of defiance that set in the weekend after the bombs.”

 


#RetView 21 – The Fog (1980)

Title: The Fog

Year of Release: 1980

Director: John Carpenter

Length: 89 minutes

Starring: Adrienne Barbeau, Jamie Lee Curtis, Hal Holbrook, Janet Leigh

The Fog

Along with The Howling and An American Werewolf in London, this is one of the films that shaped (or warped) my formative years. Following the success of Halloween two years earlier, John Carpenter was considered hot shit in Hollywood and virtually given free license to do what he wanted on the Fog, albeit on a pretty modest budget. He didn’t disappoint. Being sandwiched between Halloween and Escape from New York, the Fog is often overlooked, but remains one of the jewels in Carpenter’s crown.

As the Californian coastal town of Antonio Bay nears its hundredth anniversary, paranormal activity mysteriously begins to rocket. When a huge chunk of masonry falls out of a wall in his church, town priest Father Malone (Holbrook) finds his grandfather’s journal hidden in the alcove. When he reads it, he uncovers a terrible secret. The original townsfolk, led by Malone’s grandfather, deliberately sank a clipper ship, the Elizabeth Dane, and plundered it for gold, which was then used to establish the town and build the church. Cut to the present day, and a fishing boat is out at sea when it is engulfed by a mysterious glowing fog. You guessed it, there’s something in there. Specifically, it’s the Elizabeth Dane, and her very angry (and very dead) crew.

The heart and soul of San Antonio is the local radio station, seemingly managed by Stevie Wayne (Barbeau) all on her lonesome. The radio station is set up in an old lighthouse, meaning Stevie is in pole position to see the glowing fog, which suspiciously moves against the wind, approach the town. Weatherman Dan helpfully calls to tell her about it, but unfortunately, Weatherman Dan could make a strong case for being the stupidest man in the world and is dead moments later. Instead of just calling it a night and going home, Stevie then takes to the airwaves to implore any passing strangers to go to her house, address provided, to save her son who is stuck there with the soon-to-be-dead babysitter. A short time later, she apparently gives up on him altogether and shifts her attention to saving the villagers instead who have gathered for a Centenary celebration. In an apparent attempt to help the crew of the Elizabeth Dane find them quicker, she tells them all to gather in the church where an epic showdown takes place.

As well as writing, directing, and even pulling off a brief cameo role, John Carpenter also composed the musical score. I didn’t notice the significance until I sat down and actually listened to it. It consists of the usual deep, ominous, brooding tones, which are then mimicked by lighter tones. Same chords, different tones. When I thought about it, that effect conjured up the notion of being stalked or followed, which I imagine to be an effective tool to use on the subconscious whether intentional or otherwise. The music is instrumental (boom!) in making the Fog such an atmospheric, satisfying, well-made chiller. The plot is ultimately a tad predictable, but there’s just enough gore and jump scares to keep things interesting.

The fate of the Elizabeth Dane is said to be based on that of an actual wrecking which took place off the coast of California near the town of Goleta in the 19th century. This particular kind of skulduggery appears to have been mercifully rare in America. However, it was a lot more prevalent in Britain.

John Carpenter also claimed to be partly inspired by a visit to Stonehenge with his co-writer/producer (and then-girlfriend), Debra Hill while in England promoting Assault on Precinct 13 in 1977. They visited the site in the late afternoon, and saw an eerie fog in the distance. Though carpenter and Hill worked together on The Fog, Halloween and several other projects, by the time the Fog came to be filmed Carpenter was married to Adrienne Barbeau. Unusually, both Carpenter and Hill were involved in the 2005 remake starring Selma Blair and Tom Welling, which managed to stay more-or-less faithful to the original.

Trivia Corner

Worried the film might flop, the distribution company, AVCO Embassy Pictures, spent around $3 million on advertising and promotion, mostly on TV, radio and print ads. They also spent a considerable amount installing fog machines in the lobbies of cinemas where the film was showing. That was almost three times the amount the film cost to make. However, the gamble paid off as it generated over $21 million at the Box Office.


100 Word Horrors 2

Back last year I contributed to an anthology of drabbles called 100 Word Horrors. I’d never written a drabble until then, but found it a lot of fun as well as a good exercise. When you only have 100 words, you have to be concise and make every word count. The format is one I enjoy, and I’ve dabbled (drabbled?) in it quite a lot since.

Here’s another one.

Fast forward a few months and editor Kevin Kennedy is at it again.

Introducing… 100 Word Horrors 2.

How’s this for an awesome cover?

100 word horrors 2

My contribution this time around, Hitori Kakurenbo, is a spin-off from my recently completed (and as yet unpublished) novella Tethered. It isn’t set in the same universe, nor does it feature any of the same characters, but the two stories are linked because they both concern creepy internet rituals. Translated from Japanese, Hitori Kakurenbo means ‘One person hide and seek.’ Or something along those lines. I’ll be giving the game away if I divulge too much here, but let’s just say it involves a stuffed doll, a knife and some blood. Wahoo! What more do you need for a fun night in by yourself?

Check out 100 Word Horrors 2 to read Hitori kakurenbo in its 100-word entirety, along with stories by lots of other, more talented writers including Amy Cross, Andrew Lennon, David Moody, Michael Bray, Shaun Hutson, Terry West and my spirit uncle Craig, to name but a few.

I’m just there for the shits and giggles.

And the stuffed dolls.

100 Word Horrors is available now on ebook and paperback.


RetView #20 – Race With the Devil (1975)

Title: Race with the Devil

Year of Release: 1975

Director: Jack Starrett

Length: 88 minutes

Starring: Peter Fonda, Warren Oates, Loretta Switt, Lara Parker, RG Armstrong

RACEWITHTHEDEVIL

Race with the Devil is the rarest of things; an action/horror/road movie mash-up of epic proportions. American audiences loved their car chases in the seventies. For a while, that was the whole point of making films and often, any plot or storyline was aimed primarily at manufacturing situations where people got behind the wheels of cars (or in this case, motorhomes) and chased each other around. Just look at that poster. They witnessed an unspeakable act! It screams, stopping just short of adding, “And that’s why they got in the ve-hicle so we could have us a good ole chase!”

After some suitably ominous music, we are introduced to motorcycle dealership owner Frank Stewart (Oates) who, along with his friend and keen motorcross racer Roger Marsh (Fonda) is preparing to head out to Aspen, Colarado, on a ski holiday. Along for the ride are their wives (Switt and Parker) and a belligerent little dog called Ginger. After being on the road for a while they find a quiet, secluded place to spend the night. While drinking beer and shooting the shit outside the motorhome, Frank and Roger see a fire burning in the distance. On going to investigate, they find a bunch of people dressed in robes, dancing around said fire and chanting which is all very reminiscent of Maiden’s Number of the Beast (“I feel drawn toward the chanting hordes, they seem to mesmerize, can’t avoid their eyes”).

When half the Satanists get naked, Frank and Roger settle down to watch what they anticipate will be a vast, open-air orgy, but things take a sinister turn when one of the naked women is stabbed to death by a dude in a mask, and apparently offered up as a human sacrifice. Just then, the interlopers are discovered by the newly-naked Satanists and lo and behold, we have our chase. Frank and the gang drive the motorhome through a river, up a hill through a forest, and then cross country (it’s a motorhome, not a fucking tank!) before eventually winding up in a small town where they report the unspeakable act they witnessed to the local sheriff (Armstrong). But isn’t there something slightly off about that sheriff? Of course there is. You know the drill. In fact, everyone they meet seems a little ‘out there,’ from the librarian to the mechanic fixing their window, which riffs off the whole generational hippy paranoia thing that was going on at the time. Vietnam, Watergate, race riots, Jesus Christ Superstar, post-Woodstock America was a deeply troubled place.

Things escalate when the group leave town and spend the night at a camp site populated by yet more iffy individuals where Ginger comes a cropper and they find rattlesnakes in the cupboards. That’s enough to ruin anybody’s holiday. Before long, they really are engaged in a race with the Devil. Or, more accurately, the Devil’s mates. The last quarter is one long adrenaline-filled smash ‘em up as the increasingly frustrated cult members try their hardest to prevent the Frank and company making it the real police leading to some pretty impressive stunt driving. At one point, a Dodge pickup truck pursues them for about three miles on two wheels. I shit you not. The supernatural elements do feel a bit tacked on, giving you the impression that these people could be being chased by anybody – cult members, rednecks, bikers, hippies, rogue penguins, aliens. But nevertheless, it’s thrilling, and sometimes chilling, stuff.

Race with the Devil was directed by Jack Starrett (perhaps best known for his roles in Blazing Saddles and as asshole deputy Art Gault in First Blood) who made his name acting in a slew of biker movies in the late sixties and early-seventies. Conveniently, this dove-tailed with Fonda’s appearance in the legendary Easy Rider and several other notable contributions to the genre. It could have been preordained that these two were going to work together at some point, and when they did, motorcycles were going to be involved. Starrett even has a cameo role here as a gas station attendant. Interestingly, he later claimed to have hired actual, real-life satanists as cult member extras, though this statement may have been a publicity stunt. I mean, how the heck would he find them? You can’t just put out a call for satanists who wouldn’t mind being in a Hollywood movie. If it was a publicity stunt, it worked. Though it received mixed reviews, the movie tapped into the American psyche and was a huge success, drawing over $12 million at the Box Office from a modest budget of $1.75 million. It was released just when home video was taking off, bringing in another $6 million-plus in rentals, and was re-issued as a double feature in 2011 with another Peter Fonda film, Dirty Mary, Crazy Larry. It isn’t often talked about these days, which is a shame as it’s definitely worth a punt.

Trivia Corner:

According to IMDB, some of the chase scenes involving the motorhome and its steadily degenerating condition were used as stock footage in eighties TV classic The Fall Guy.

 


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