What I Love About HorrorHound Magazine

About 2 years ago I came across a most magnificent little tome on the shelves of my local bookstore. HORRORHOUND magazine (full color, approx. 64 pages) made my eyes light up the same way FANGORIA forever changed my gore-soaked eyes back in 1989. While I will always be most loyal to the mag which formed, guided and wickedly enhanced my tastes for horror forever, HORRORHOUND has quickly become my naughty little mistress.

The key to HorrorHound's niche is that it appeals directly to my generation the same way Scarlett Street retrospected all of my parents fright flicks for modern times. At the same time, it's information and photo packed pages drag you right back to all the graphically orgasmic horror mags of the mid-late 80s, and still manages to draw the attention of today's jaded teens and their internet damped eyes. Cover stories and extremely detailed retros on such original fan-favorites as Friday the 13th, Halloween, Salem's Lot, Pumpkinhead, Child's Play, The Exorcist and even Michael Jackson's Thriller are promoted with the same respect as though the films are just now being released.

To further grab your attention are "Fun Facts" and "Did you know?" bits of fandom Q&A lining the bottom of every single page... seemingly useless details to the untrained eye, but knowledge being absorbed like UV rays by any true fan of freakishness. While there's also fresh interviews and news on upcoming theatrical releases for "new" product (i.e. lame remakes), there are much more gruesomely delicious bits on horror comix, model kits, video games, toys, conventions, and DVD releases of our fave films of yesteryear. Even the ads filling quarter pages jump out and beat you over your bludgeoned noggin. I have to say, however, there are two specific regular pieces I automatically flip to...

First up is "The Video Invasion," a typically 3-4 page breakdown of the vaults of long-forgotten and defunct VHS distributors such as Wizard, Camp, Vestron, Gorgon, et al. Each page is gore-iously designed with the company's complete collection of VHS box art, and whether or not the title came in the traditional (i.e. more common) VHS sleeve or the giant clam shell (most often remembered as the size of 80s porn VHS box covers). Additional promotional materials (such as the light-up posters of A Nightmare on Elm Street 3 & 4 and The Texas Chainsaw Massacre Part 2 released by Media Home Entertainment) are also displayed with a loving touch. Imagine the hunt these collectors must dedicate themselves to in order to hunt down the eBay bound items.

Second, and probably because it gives me the same soothing sensation and excitement as those People magazine "Where are they now?" stories, I savor "Horror's Hallowed Grounds." Pictures taken directly from the film are matched up to pictures taken today by a devoted fan hungry enough to hunt down original filming locations in random towns across the nation! Anyone willing to put forth that kind of effort (squinting their eyes til they bleed at the TV screen to try and pick up addresses on homes and rusted street signs to identify possible landmarks) wins my vote for "most devoted." There's simply something so fascinating - at least to me - about how people and places have aged over the years.

What I love most about HorrorHound magazine, though, is just how much fun its staff seems to have in creating it. The writing is enjoyable, easy to consume and typically to the point. The layouts are playful and filled with photos of varying sizes meant to squeeze in as many as possible. It's clear from front to back that this mag is made entirely by fans for fans, bringing long-lost and forgotten titles of my youth back to life. Thank you, HorrorHound, for bringing me back to my childhood and making me a fan again, remembering why this genre consumed me in the first place.

Why I Worship at the altar of J.R. Bookwalter

A happy thing showed up in my mailbox the other day... my final paycheck from Shout! Factory for the SLEEPLESS NIGHTS documentary I recently directed for them. Last night, as I shared my joy (and bought some cocktails) with friends and family, I realized that having received that check was more than just thanks for a job well done. I was happy that the check had been received at all.

Last week, I had dinner with my dear friend, actress Tina Ona Paukstelis (ASWANG). After bitching to her about all the money I haven't received for past productions, she commented "You just keep getting ripped off, don't you?!" Tina has known me from college through my entire professional career. And she's right. I received one royalty check (a small one, I might add), for the films I did for Moore Video back in the 90s, even though they continued to sell copies after that. I sold a bulk of my movies to a distributor in the late 90s... never got my payment. Throughout the early/mid-2000's, I published dozens of articles. For one particular magazine, I'm still owed nearly $3,000. More recently, I'm over a full year past getting paid for NOVEMBER SON (2008) by distributor Ariztical. Looking back, one of the few people I have been able to trust in this industry, is my friend, mentor, distributor J.R. Bookwalter.

Bookwalter, like myself, has spent his career striving to be the best in low-budget cinema. He gained notoriety for directing the cult-classic zombie flick THE DEAD NEXT DOOR back in 1985 at the tender age of 18. (It's a poorly kept secret the film was financed by none other than Sam Raimi of THE EVIL DEAD and SPIDER-MAN fame.) Forming his own indie production /distribution company Tempe Entertainment / Tempe Video and the magazine "The B's Nest" (later remonikered "Alternative Cinema") in the late 80s, Bookwalter quickly became the demi-god to all kids who wanted to pick up their dad's camcorder and make a movie for $100.

Understanding that all-consuming need to make cinema, Bookwalter was among the first to take other people's homegrown products and put them out onto the market. Initially through his zines and mailings, then through the internet. He promoted those titles with all the gusto and pride of a proud papa and his newborn baby. Even when the movies sucked (some so poorly you could smell their rott), he stood behind them. He has treated his directors, casts, and crews with such respect its remains a difficult task to find anyone with nary a bitter word about the man.

After actress Brinke Stevens (whom I also owe my career to) introduced me to Bookwalter at one of her famous back-yard BBQs, Bookwalter took many more steps than he needed to in introducing me to David DeCoteau. His efforts resulted in many years of work with the cult director and inspired me to direct my own short film, JULIA WEPT (2000). The idea was to create a feature to get additional work from other producers. The first person to hire me? J.R. Bookwalter.

SOMETHING TO SCREAM ABOUT beget a series of wonderful working experiences with Bookwalter and his associates. Taking on various roles in front of and behind the camera, productions such as HELL ASYLUM, DEADLY STINGERS, and the BAD MOVIE POLICE franchise quickly filled my resume. He stood behind me on OCTOBER MOON - an item no one else wanted to touch because of its combo gay/thriller-theme. Nobody else was making films like this at the time, and while every other producer I approached ran screaming, Bookwalter felt I had something special.

Even though he's long referred to me as a publicity whore (a title I wear loud and proud), Bookwalter has had my back more than anyone else in the industry. He's attempted to steer me down the right avenues (even though I don't always listen), gotten me in touch with many other folks who would lead to additional film and journalism work, and always been honest and right -on-time with statements and payments. When money was lost in a bankruptcy scenario with a joint distribution company, Bookwalter was direct up front and has proven his worth in trying to earn the money back. He has forewarned me of the highs and lows of the business, respected with great intent my "coming out" and domestic partnership (though I'm still waiting for that wedding gift), and even honored me with being the godfather of his handsome little fella, Benji.

So why do I worship at the altar of J.R. Bookwalter? Simply put, he's a kick-ass guy, a great trustworthy friend, and has long offered the guiding hand of a big brother. Get to know him, and his work.