Like cheese and science, old comments tend to get tossed away. While the occasional post might get a few hits now and then even after it has dropped off the main page, comments are more ephemeral. Recently, ANTSS received two comments that I think deserve a little attention.
First, like many of you, I was approached by the men and women of the NYC-based Charred Oak Films about crowd sourcing their indie horror-comedy Always a Bridesmaid.
Clicky peeky and then come on back.
I don't necessarily want to shill for their flick, but I do think it has the potential to be a winner. Let's face it: Women-centric horror packs them in. The comedy angle makes its tent slightly larger. And another project on their docket, Satan Camp, suggests that these folks can tap into a popular retro vibe.
But, that aside, supporting something like Always a Bridesmaid is a blow against the Empire. Specifically, the Empire of half-assed remakes, follow-the-leader copy cats, cookie cutter, formulaic, Hollywood crappola.
We vote with our dollars. You may have written the most insightful, witty, and devastating critique of Halloween II to ever grace the Interwebs. But I'll tell you what, Skippy; they don't give a crap what you said so long as ponied up like all the other marks.
Imagine this: What if everybody who shelled out ten to twelve Washingtons had, instead, kicked it towards funding an indie horror flick? The estimated budget for Always a Bridesmaid is $16,5000 (nearly one hundredth of the budget for Halloween II). At this point Zombie's flick has made more than $25 million. With that kind of cash, you could fund more than 1,500 films on the scale of Bridesmaid.
Dig hard, babies. This blog gets about 120 visitors a day. For the cost of Manhattan movie ticket, we'd raise more than a grand in a single day.
Like the weather, everybody bitches about the lamification of horror at the hands of talentless bean-counting studio douches. But unlike the weather, we can do something about it.
I'm not silly enough to believe that every indie horror flick is a gem. Nor do I believe that taking big studio scratch is like touching pitch, it blackens the hands. But preserving the diversity of voice in the genre, specifically by acting as patrons and friends to independent and developing, ensures the long term health of the genre. More than any ranting and raving we do as critics, its our actions - specifically our spending - that define us as fans.
Will Bridesmaid be great? Will it suck? I don't know. I hope to find out though. Even if only because it would mean we were all good stewards of our genre.
So, anyway, I kicked 'em a few bucks.
Buried (Under the Fold) Alive, Part II
Speaking of preserving voices . . . The second comment I wanted to draw attention to was attached to the Sprites song I posted a couple days ago. Musician Zane Grant has a nifty musical treat for ya'll. I'll just repeat his intro:
My sister and I did a 'dawn of the dead' song for a cd that retold the stories of different horror movies from the narrative perspectives of people in the movies. I must admit, The Sprites 'Dawn' song is better than ours, but our 28 days later and (drunk) susperia were fun if people want to check them out:
"28 Days Later"
"Suspiria" (drunk take)
Thanks for stopping by Mr. Grant.
Wrap Yourself in Awesome
My favorite merch tie-ins have always been those pieces of swag that appear to have come from the fictional world of the work they promote. It would be all good and well to have a t-shirt with the poster image for Die Hard on it. But it's about a million times cooler to have a shirt that appears to be swag from the Nakatomi Corporation.
The utterly incandescently brilliant t-shirt shop Last Exit to Nowhere mongers just such coolness. Here's some more samples:
Bonnet Rippers?
Now this is non-horror (though perhaps a bit frightening depending, I guess, on your tastes), but it was too odd not to pass along.
Okay, so this isn't horror, but it is too delightfully odd to pass up. There's a survey piece on the new romance subgenre of "bonnet romance" in, of all places, The Wall Street Journal. They're basically Amish/outsider forbidden love tales.
From the article:
Most bonnet books are G-rated romances, often involving an Amish character who falls for an outsider. Publishers attribute the books' popularity to their pastoral settings and forbidden love scenarios à la Romeo and Juliet. Lately, the genre has expanded to include Amish thrillers and murder mysteries. Most of the authors are women.
Here's a sample, from Cindy Woodsmall's bonneter When the Heart Cries:
His warm, gentle lips moved over hers, and she returned the favor, until Hannah thought they might both take flight right then and there. Finally desperate for air, they parted.
Whew. Mother, hide the little ones!
Sure the Englishers dig on it, but what do the Amish think:
While there are no religious strictures against contemporary novels, the church has traditionally viewed fiction as distracting and deceitful, says Donald Kraybill, a senior fellow at the Young Center for Anabaptist and Pietist Studies, a religious studies center at Elizabethtown College.
Some Amish have nevertheless become avid fans. An Amish woman in Lancaster told Ms. Lewis that "all the women in our church district are reading your books under the covers, literally," Ms. Lewis said. Ms. Brunstetter, who lives in Tacoma, Wash., said several Amish families in northern Indiana have played host to book signings in their homes for her "Sisters of Holmes County" series.
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