Tuesday, December 25, 2012
Wednesday, October 31, 2012
Saturday, October 20, 2012
Tuesday, October 9, 2012
Sunday, September 30, 2012
Friday, August 31, 2012
Saturday, June 30, 2012
Thursday, May 31, 2012
THE EMPIRE WILL RISE AGAIN, WITH A NEW EMISSARY: "THE EVIL CLERGYMAN."
Full Moon may finally deliver the lost Lovecraft gospel (and an opportunity to see the dearly departed David Gale again) with the long overdue anthology "Pulse Pounders" and its ode to H.P. himself, "The Evil Clergyman." This 1988 Empire offering contains the above noted eldritch horror sandwiched between segments from two other popular Charles Band classics, "The Dungeonmaster' and franchise fave "Trancers."
As a devotee of cosmic terror, I cannot wait for this weird tale to finally be available; seeing the aforementioned Gale alive in celluloid from the stills below is awesome beyond words and who wouldn't want to see him reunited with his "Re-Animator" co-stars, the forever lovely Barbara Crampton and Dr. West himself, Mr. Jeffery Combs? Sign me the fuck up, Chuck.
http://www.facebook.com/media/set/?set=a.355938074462287.82720.193639337358829&type=1
As a devotee of cosmic terror, I cannot wait for this weird tale to finally be available; seeing the aforementioned Gale alive in celluloid from the stills below is awesome beyond words and who wouldn't want to see him reunited with his "Re-Animator" co-stars, the forever lovely Barbara Crampton and Dr. West himself, Mr. Jeffery Combs? Sign me the fuck up, Chuck.
http://www.facebook.com/media/set/?set=a.355938074462287.82720.193639337358829&type=1
Monday, April 30, 2012
MONSTERPALOOZA 2012: TRULY THE ART OF MONSTERS.
If the Mayans apocalyptic visions ring true on the 21st, at least I can say my second and last Monsterpalooza was a highlight of the end of times. Yes, founder, curator and general madman Eliot Brodsky breaks out of the rubber room once a year (twice, if you count October's debut of the Son of Monsterpalooza) to give horror fans a heaping helping of gore galore, endless excitement and more latex than a porn convention.
My introduction last year yielded a Howling cast reunion (Dee Wallace Stone said I was hot...milf crush for life), chatting with the Chiodos brothers, Anders Erickson and Eriq Chang being super awesome with the latter and I geeking out about classic Sierra PC titles, hanging out with two of the best mask makers in the world (Sam McCain and Justin Mabry), buying enough bootlegs to fill a Chinese K-Mart (hey, why don't you lay off the Asians Lou...) and the motherfucking Ching Dai crown jewel himself, Mr. David Lo Pan- James Hong. Fuck YOUR life if you didn't make it out, especially for his killer floor show Saturday evening.
The line up this year had a full bore Fright Night gathering (including Stephen Geoffreys hitting on me like mad...thanks...I guess), David Naughton and John Landis gone AWIL, Chris @ Horror Illustration for being awesome and working on getting that interview done by years close, Landis losing it at the sight of the Rick Baker tribute slice of silicone (same goes for Christopher Lee immortalized in the same said substance) Stuart Gordon and the Re-Animator musical preview, sneak peaks of the Trick or Treat Studios loony Halloween II masks and Don Post bringing back the big H3 plus an even better Monsterpalooza Museum and an awesome tribute to the dearly departed maestro of movie magic, Stan Winston. Eileen Dietz gave me a cuddly Captain Howdy pillow on my honor, Rotten Cotton delivering again (TOSS DAT SALAD!), finally scored the ultra rare German special edition of "Don't Open Til Christmas" and while I didn't pick up any masks there, I came home to nab the Nightowl RAW 3 with a fresh repaint straight from JM (thanks Haines!)
The magnificent Mr. B and I had lots of fun at both events but this one takes the cake for the opportunity to spend time with the fine folks who made Fright Night, An American Werewolf in London and a lot of time with the Trioxin huffing kids of Return of the Living Dead who made the day so extra special. Linnea, Jewel, Beverly, John and the Don were so incredibly kind, funny and genuine, it's a great reminder of why I love film, horror and the opportunity to be a devotee of both. A lot of stores and smiles were shared and both Brendan and I truly got our fill and more.
Thanks to Eliot Brodsky, all the staff and volunteers, casts/crews of my most beloved features and the countless array of gifted artists, quality vendors and new friends I make every time I hit the road to Burbank. Can't wait until 2013...monster mosh it up!
Post script: For theatrical weekend forays, 2011 unleashed "Insidious" which was for the most part incredible and "The Cabin in the Woods" is already in the running for 2012's best of winner. We also celebrated Friday the 13th in style with a retro VHS double feature of 2 and 4 and while jet lag got the better of me during "The Final Chapter," I awoke long enough for both Crispin Glover's dead fuck dance and corkscrew comeuppance. Lazy Sunday treats last year were "Body Bags" and another that I can't recall while this time around, we took it easy with the Elite laserdisc of "Lisa and The Devil," a hilarious horrible chunk of 70s shlock that I still need to see with its post "Exorcist" repossessed re-edits. Last but not least, Bacon Pop is a most delicious snack and surely what the gods above crunch...and it's vegan- fuck yes.
Wednesday, March 7, 2012
BEWARE THE BIG BOX DOUBLE FEATURE...
The Sleeper
Gemini Knife Films
2011
Homage has been a cottage industry in horror entertainment for quite some time but the last few years has seen it reach a fever pitch. Fanboys have hurdled to the forefront as the new wave of directors, screenwriters and actors and one such disciple is writer/director Justin Russell (who also takes on the duties of editor, cinematography, and sound) with his exercise in late 70s/early 80s stalk n’ slash, “The Sleeper.”
Russell and his team of nubile but entrepreneurial on screen actors and background players rifle through the golden age of a post Halloween/Friday the 13th world by heading a bit further back and finding the bulk of its framework in Bob Clark’s holiday horror hallmark, “Black Christmas”, arguably the blueprint for most slashers that followed and a masterpiece of the genre. Its bare knuckle style packed a punch due to its ability to terrify slowly, surely and with an unnerving but not un/supernatural monster in the vein of predecessors like “Psycho” and “Peeping Tom”, increasing POV shots and ratcheting up the tension awhile keeper in the killer in the dark (literally and figuratively.) The story of sorority girls pursued by an unrelenting hulk, blinded by obsessive rage (and apparently some sort of cataracts), who punished with a classic assortment of implements but also like “Black Christmas” through a relentless series of harassing, vulgar phone calls. With their house mother concerned, police on the case and a couple hot young pledges under consideration, “The Sleeper” wastes little time with a back story, instead focusing on the classic formula of increasingly gruesome deaths in a bloody paint by numbers portrait. Not much in the way of skin (topless chicks-check, vintage bush-negative Ghost Rider), but you get plenty of quality kill and probably the most embarrassing but enjoyable dance sequences since “Prom Night.” Russell and Co. make every effort to maintain the dated environment and for a healthy minimum, they succeed. The limited sets, inexperienced acting, dollar store gore and go for the jugular, Kauffman/Lewis approved school of film making are all here and ends of being a better “Black Christmas” remake than the “Black Xmas” remake (not too much a stretch there.) It generally feels like a title you’d pull off a shelf in a Mom & Pop video store during the Regan era, and therein lies the problem: the majority of those films were awful. Being honest, with not a hint of nostalgic BS, very few independent slashers in that time capsule really reinvented the wheel and a handful more even got the motor running. Sure, I had lots of fun and still do watching the thousands of Freddy, Jason and Myers clones that littered shops coast to coast, worldwide for that roughly ten year stretch. I found some real diamonds but was caved in by the rough more times than I count. The “so bad, it’s good” schtick only goes so far and in the end, most folks will admit that the bulk of these titles went back to the grave they were raised from in short order for good reason. “The Sleeper” is a fun watch and if its creators had such intentions, they succeeded in staying true blue to the deep red, but perhaps got a bit close and slipped into the abyss of mediocrity plaguing their forebears. One can take this film,
In the end, three small words really make this film: Joe Bob Briggs…as a doctor at the very end of the film, like a sweet sweet happy ending after a sweaty night of aardvarking. And a JBB Drive In Total to boot which is golden, though a commentary would have been much appreciated , though you get one from the director, an hour long featurette and a couple trailers including “Don’t Go In The Attic” which I for one am hoping gets a full length treatment in the near future.
I was able to pick up the limited edition VHS/DVD combo set, finding company in other new and classics rereleased in such a manner like House of the Devil, Things and Sledgehammer. While the former received the clamshell treatment and the latter were released separate from their DVD counterparts via Mondo/Intervision. Slasher fans will find a lot to love here, while retro VHS junkies and Lunchmeat readers are sure to be charmed but the dedication to detail in both packaging and cinematic product with spot on packaging that mimics the VHS glory days (including the nice touch of a color coded rental sticker) while the DVD itself has cover art inspired by one of my favorite video nasties, “Don’t Go In The House.” I even thought the inclusion of a Kinko’s copy of the Alpha Gamma Theta pledge party was both pretty in pink and pretty awesome.
Overall, if you are seeking out a new slasher with an old feel, “The Sleeper” will keep you awake, just not engulfed beyond its running time. Be sure to pick up the deluxe package as there is no better way to enjoy the experience, especially for those of you who didn’t grow up in the 80s like I did, where a slash from the past just makes your day better…
On the opposite end of the spectrum, but equally low budget, is the business of the “lost film.” Such is the case of “The Basement”, a Super 8 shocker recently unearthed by the fine folks at the fittingly named Camp Motion Pictures, an Amicus inspired anthology flick made in the 80s finally unleashed. To sweeten the sickness, it is joined by a bevy of previously released B movie gore faves, including Video Violence 1 & 2, Cannibal Campout and Captives for a total of 5 DVDs and 1 VHS.
Surprisingly, “The Basement’ acknowledges its shortcomings early on and actually comes out ahead with five stories (including the wraparound) that are all well told in the EC/Amicus/Laurel tradition.
“Swimming Pool” is reminiscent of “The Raft” from “Creepshow 2”; nowhere near as good but in the same spirit. “Trick or Treat” is a fun revenge foray with first rate make up resulting in a fantastic creature in the vein of the best “Tales from the Darkside” episode ever, “Halloween Candy.” Rounding out the running time is a quality double header of “Zombie Movie” and “Home Sweet Home” that are both entertaining and above all else, honest. I am a sucker for anthology films and I can’t pinpoint it but “The Basement” has a lot of charm, some good effects and even a couple of genuine shivers. As I watching the including making of bonus footage, I believe what it really comes down to is heart and there is a lot to be found in “The Basement.”
The other features included are all previously released (“Captives” makes its debut on DVD here) but most definitely worth a whirl; SOV mayhem for the whole family, with more DIY spirit than you can shake a rolled up copy of MRR at.
Final verdict: Both “The Sleeper” and “The Basement” collection are two sides of the same coin, minted in different periods but mined from the same source. While “The Basement” is bulked up with additional features, the VHS/DVD package of “The Sleeper” is well worth the additional cash and there is nothing like seeing the big box on the shelf, both in spirit and sentience.
Saturday, February 4, 2012
REVIEW- "THE DEVIL INSIDE."
When one's most beloved film of all time is "The Exorcist," all features that follow with a focus on Ol' Scratch are sure to pale in comparison. In my estimation, "The Exorcist" does not deserve to merely be regaled to the realm of horror or simply awarded as the pinnacle of possession pictures; it's celluloid supreme. Its release in late 1972 ushered in four decades of imitators from the immediate ("Abby," "Beyond the Door," etc) to much more recent fare such as "The Rite."
Pockets of infatuation with the sub genre have always surfaced, from the late 60's heyday of "Rosemary's Baby" to the millennial low budget machine that is the "Paranormal Activity" franchise, Beelzebub has overall meant big box office business. Since 2005 though, it has cross pollinated with another popular cinematic style of "found footage" resulting in offspring like forerunner "The Exorcism of Emily Rose," mockumentary favorite "The Last Exorcism" and the aforementioned "Paranormal Activity" trilogy. These flicks took classic elements and paired them with a Generation Y milestone "The Blair Witch Project" to create a world where exorcism is not only alive and well, the proof is in moving pictures, ready to download and dissect on message boards the world over. While "Emily Rose" was embedded with Christian overtones and courtroom drama, "The Last Exorcism" chose the Christopher Guest route peppering the tongue in cheek humor with outright horror as "Pararnormal Activity" ended up a lo-fi, limited setting clausterphobic demonic clusterfuck. All found an audience and each helped to reinvigorate Halloween fare that had long been obsessed with gore galore like the "Hostel" and "Saw" series.
While no one believed the Gothic graces of Hammer had returned or that a rival to "The Exorcist" and "Rosemary's Baby" uncovered, the majority of critics and fans at least felt there might be a resurgence of minimalist scares and Satanic wares.
Enter "The Devil Inside," which invaded theaters at the start of 2012 with less than stellar reviews but formidable receipts. The formula is tried and true as they come with an introductory news report covering that nights events of a triple homicide that yields plenty of clues but few definitive answers. Flash forward twenty years and the daughter (Isabella) of the convicted murderer has enlisted the help of a filmmaker to document an attempted reconciliation with her mother who is committed to a mental facility in Rome. While attending a seminar on exorcism, she encounters two priests, Ben and David. The latter clergyman is devout but as an MD, he is open to scientific possibility while the former finds the bureaucratic nature of the church stifling and his dwindling faith restored in patches by the events of Isabella's investigation and local manifestations of evil. As the movie rolls on, we are introduced to a plethora of supporting characters and convincing cases of possession, culminating in a chain of events where Isabella and the priests come to the realization all too late of the formidable enemy they face. Further exposition regarding the plot could be added here but honestly, it's all stock and any seasoned genre fan can add up the missing pieces. While once or twice, a loop is thrown, it's not entirely unexpected and with the exception of a couple incidents, most of the jump scares can be scene from a mile away as they have been milled from every on screen scary story told in the last century.
The performances by the primary cast are competent and at times, convincing but lack the edge similar flicks like "Emily Rose," "The Last Exorcism" and "Paranormal Activity" had. Modern comparisons are the only fair assessments since none of these titles can hold a candle to greats like "The Exorcist," "The Omen" and "Rosemary's Baby." In due fairness, those milestone movies were overall big studio pictures with ensemble casts and major background players but there are better performances in similar independent features like the 2000s era trio noted above. Innovation is also absent; there were plenty of opportunities here to escape the retread of exorcism excess both classic and current (violent profanity, painful body contortions, etc) and without giving too much away, borrowing heavily from a top twist that carried "Shocker," "The First Power" and "Fallen." Sure, it was even pioneered in "The Exorcist" but there were rules. "The Devil Inside" doesn't seem to want to follow them or anything other than a well worn path, tread better by those who came before. Ultimately, you get a very nice skeleton that with a bit of creative nourishment could have packed some meat on the bones and delivered a much more satisfying film that would have consumed the viewer instead of wasting away on screen like an Olsen twin.
The greatest accomplishment I found came at the very end, which could have taken several routes and ended up going down a very familiar street but judging by how pissed the audience was, they were on the money with a completely ambiguous and unhappy one. This used to a big gamble and while the risk is not as big as it once was, neither is the payoff. I don't feel I was robbed like so many others as I left thinking "well at least they got one thing right" while my fellow moviegoers wore "what the fuck" faces right out into the bright lights of the real world.
If you haven't delved into the last decade of DVDs where possession is prominent, start with "Emily Rose" and go chronologically forward with "Paranormal Activity" and "The Last Exorcism" and you'll have an altogether better impression of this popular cross section of horror cinema. Should you yearn for a comprehensive book of shadows, the nightmares begin with "Haxan", achieve perfection with "The Exorcist" and have a hell of a good time in the 80s- "The Devil Inside" would sell its soul to be a part of that pedigree.
INTERVIEW W/ERICH LUBATTI, LUBATTI DESIGNS UNLIMITED.
Q: Can you talk a little about your background, how did you get involved in mask making and what is your favorite piece of art you've created?
A: I’ve loved the Universal monsters from a very young age; especially, Frankenstein’s Monster. So, I’ve wanted to create my own monsters for a very long time. Mask-making was, and is, my way of bringing things to life that otherwise would never exist.
My favorite piece…well, it’s very hard for me to narrow down to just one. I usually just say that it’s whatever new piece that I’m working on. But, that’s not always the absolute truth. My favorites are often those that have been the most challenging.
Q: What were your early creations like? Did you utilize guidebooks or instructional videos (Smith, Chaney, Baker, etc) or was it mostly trial and error?
A: My early attempts were rough, like most everyone’s. By the time I was five, or so, I was infatuated with the apes in “Planet of The Apes” (the original, with Roddy McDowell and Charlton Heston), and I wanted badly to recreate a chimpanzee face on my own. So, I persuaded my mother to buy a couple packages of Silly Putty for me at the grocery store so I could sculpt an ape’s face over mine. It didn’t go quite as I expected. The putty only covered my upper lip and most of my nose…and, I didn’t realize, at first, that one’s body heat would make the stuff impossible to mold over one’s face. Silly Putty becomes VERY soft while you’re trying to form a chimp’s nose over your own! But, there were a lot of those experimental makeups and sculptures in my early days. Lots and lots of trial and error. And, a lot of money spent at the local grocery store. But, thankfully, my parents were always supportive.
When I was really young, we didn’t have how-to videos that we could buy to learn all of this stuff. Magazines, like Famous Monsters (and, much later, Fangoria) were my main resource. The local Library also became a frequent stop for the books by Richard Corson and Lee Baygan. My brother was a big Famous Monsters fan. He had the original printing of Dick Smith’s Monster Makeup Handbook and I was always borrowing it to try something new. I didn’t know it until I was around ten years old that he had TWO copies of it, and he ended giving me one of them as a birthday present! I still have that copy, too.
Then, Dick Smith released the makeup kits! I never was able to get all three, but I had the Horror Makeup Kit. That was a revelation! I went crazy with that thing and used up all of the “Flex Flesh”, probably, within a week. I knew it was only unflavored gelatin, because of Dick’s handbook. So, I was able to get more and more gelatin from the grocery store. Unfortunately, the vacu-formed molds that came with the kit didn’t survive. But, I really learned a lot about casting and gluing the gelatin to my skin from that one kit; even sculpting.
I sculpted my first ‘mask’ at about 15 years-old. It was my interpretation of the Frankenstein Monster. I sculpt it over a plastic bad cap form, so the resulting rubber mask wasn’t wearable. But, it was a learning experience.
I love that kind of experimentation and discovery. I’m still doing that sort of thing!
Q: You've worked for many studios over the years; if you could provide some insight into which has been some of your best experiences and why? On the flipside, what were some of the worst and what did you learn from them?
A: Oh, I won’t name names. Good or bad, I believe I’ve always learned from my experiences. So, in that respect, they’ve all been great.
Q: Many of your masks are currently available through Trick or Treat Studios; how has it been working with them? Do you prefer going solo or is it nice to be aligned with such well respected artists and business partners?
A: Working with Trick or Treat Studios has been awesome! Chris and Justin are amazing. It’s been a great experience working with both of them, and it’s only the beginning for T.O.T.S. There’s a LOT more in store!
Q: You also have Alex Sanchez and Ryan Banfield in your stable; how has it been having them in the Lubatti Designs Unlimited fold?
A: Alex and Ryan are great to work with. Alex has contributed quite a few masks to the lineup over the last 4 years. He loves 80’s horror films. So, he puts a lot of that spirit into his sculptures. Ryan is super enthusiastic and that energy is very contagious!
Q: The Michael Myers community is by far the largest in the private, custom mask underground- what do you think about this phenomenon? I've always been fascinated by how such a simple, white mask has literally hundreds of variations. This is common in the Universal Monsters universe but that is more than 70 years long while MM has accrued a little more than 30.
A: I’m a fan of the original 1978 “Halloween”. I enjoy some of the sequels, and Rob Zombie’s remake. The Shape is a prime example of K.I.S.S. (“Keep It Stupid Simple”). That mask is also something that never could have been planned to become the icon that it has become. If someone set out with intention to make an iconic mask for a horror film, it wouldn’t have nearly the same impact that reworked Captain Kirk has had for 33 years. Outside of Jason’s white hockey mask, Freddy Kruger’s visage (and, to an extent, the Scream Ghost Face and Saw’s Jigsaw masks), no one has come close to Myers.
So, I understand the customer-demand for really good Myers masks. I admire what the artists who do dare take on the infamous white mask and come out with a mask that looks as close to that old Don Post Studios mask as possible. I once tried my hand at a Myers mask many years ago, and was so frustrated with the poor results that I’ve not attempted it again.
Q: A long the same lines, how do you feel about license issues? Many fans and artists feel that these fees charged by property owners are too high and therefore have "gone guerrilla" and are bypassing the entire process willing to take the risk to deliver the people what they want.
A: Too many times in the last 25+ years, the officially licensed masks just don’t look like the character that they’re supposed to represent. Too often, the license holders have ridiculous deadlines and specifics about their masks, and the likenesses are lost in all of the “marketing”. I think it’s an age-old dilemma, the struggle between art and business that gets in the way with licensed products. Not always, of course. But, there have been really poor-quality licensed masks of movie characters over the years!
I have nothing against independent artists producing a limited run of popular characters. Personally, I enjoy doing my take on lesser-known movie characters.
Q: If someone wants a custom piece, how should they go about getting in touch- do you utilize a down payment system and how do you orchestrate communicate regarding the specifics?
A: Just send me an inquiry via email: lubattidesigns@hotmail.com. Let me know what you’re looking for and I’ll provide you with a quote. I ask for a 50% deposit to get started on the sculpture. Then, I send the client photos all throughout production for approval or changes.
Q: Most mask makers I've met prefer to do original works but also have a love for classic properties. What are some your favorites in respect to the former and the latter?
A: I much prefer making original masks. I think most artists out there would agree. Replicas of movie characters do sell better than originals. My opinion is that if one can make a mask that kinda-sorta looks like a movie character, but has a lot of the individual’s own tastes and twists put into it, is the best of both worlds! Red Jack is one of those perfect blends, for example. People are always asking if he’s from “The Nightmare Before Christmas” or if I based him on The Joker. I answer, “Not really”. He’s an original concept that a very dear friend of mine came up with in an original script that he wrote back in the early 90’s. He loves Tim Burton films and the Freddy Kruger films. So, he mixed up all of his favorite aspects of all these characters in a blender, and Red Jack came out as his main villain.
Anyway, I’ve strayed from the point. I love any of the Universal Monsters, or Lon Chaney, masks.
Q: Do any of your creations have back stories or have you attempted to start a franchise around them?
A: Several of my masks have back stories. Red Jack, of course, is a character from a friend’s feature-length script. Belarivo also comes from a script written by another friend of mine. Arix has had several short stories started about him, but they haven’t, yet, come to fruition. I suppose they all have some sort of story behind them, even if it’s just in my imagination for inspiration as I’m sculpting them.
Q: You are very well known for your repaint work; it is not mentioned a huge amount on your site so how does one go about procuring those particular services?
A: That seems to have come about completely by word-of-mouth. And, all anyone has to do is send me an inquiry via email: lubattidesigns@hotmail.com. I’ll be happy to give them all of the information on my repainting services.
Q: What other mask makers do you admire and what are some of your favorite classic masks (Don Post, Topstone, etc)?
A: WOW! What a loaded question! I could be here all night answering this one. I admire many, many mask artists living and dead. Everyone out there right now making masks, or sculpting, painting, or taking creative photographs has my admiration, and I draw inspiration from most artwork that I see. There is so much really good work out there, now! Don Post Sr. was really the first mask-maker that made an impression on me. Even the artists that he employed in the early days of Don Post Studios, the work that came from that studio set the standard that is still pretty much being followed today.
Q: One of the more hotly contested issues of mask collecting is pricing; you have always been extremely fair in this realm with beautiful, handmade product going for half or more of competitors costs- a few pieces are even cheaper than mass produced Halloween store fodder. Obviously, this is much appreciated by fans but I wonder if you have a particular reasoning behind your low prices and what do you think of the sticker shock attached with the hobby/industry?
A: I try to keep my prices as reasonable as I can. It can be difficult, at times, though. Latex costs are constantly going up, as are other materials that go into making rubber masks and props. So, those increases do have to be reflected in my prices. But, still, I remember all too well being on the other side of the fence. Working hard mowing neighborhood lawns to be able to afford a Don Post Studios mask that I’d had my eye on at the local costume shop for the last 3 months. I want people to be able to enjoy what I make, while still making some profit.
Q: Most beloved horror classic? Any recent favorites?
A: “Frankenstein”, the 1931 version. Recently… in the last decade, there’s not been much. “28 Days Later” was effective. AMC’s “The Walking Dead” is another really good, intelligent storyline that I’m enjoying.
Q: In the same vein, most modern horror is driven by CGI and not the time honored tradition of true special effects (in latex we trust!); obviously, it's necessary for some films but it's so unnecessary in many. From Chaney and Smith, to Baker and Bottin, the foundation of the genre has really been eroded in the last decade or so. There are some purists holding strong but do you think survival is assured especially in the big leagues?
A: Oh, I don’t know. Hollywood loves the latest gimmick. That’s nothing new. I can see the draw of CGI with producers and studios; virtual characters don’t have hours and hours of down-time on set if a cable or bladder breaks inside the fake beastie. What I like to see on-screen is a marriage of the two technologies. CGI can fill in (or, take away) on an appliance makeup or creature suit to help complete it. My biggest complaint is that, too often, 100% CGI creatures look like something from the latest version of Xbox. The anatomy isn’t correct, or their movements defy the laws of physics. That sort of inaccuracy pulls me right out of the story and make me focus on how bad the effect was. I’d much rather see rubber head-and-shoulders puppets go through the process of changing into some horrifying creature than a badly rendered CGI transformation scene. I wholeheartedly agree with a recent comment I read by Lee Romaire where he stated that he believes physical and special makeup effects will continue to flourish and show us new and exciting things within the independent film market. I think it will, too. Another market that needs to step up to the next level is the Haunt Industry. I think there’s great potential within that venue to develop new and original stand-alone characters, rather than just relying on what was a hit at theaters last summer. I’d love to see haunts coming up with characters that are their own and catch on in the general population the way horror movie characters have for decades!
Q: Best Universal Monster and why?
A: Frankenstein’s Monster portrayed by Boris Karloff. Everything about it is what I love about horror films: Atmosphere, great acting (on Karloff’s part), good pacing, cool sets, and a killer-looking monster! Even as a young child, I picked up on the sympathetic nature of The Monster. That, alone, made him really stand out from the other monsters, for me.
Q: What do you think about mass produced masks- T.o.T.S. and a few others seem to be doing it well and overall, the entire industry is improving in respect to quality control and attention to detail but being honest, most are just a quick, cheap and grossly inaccurate.
A: When mass-produced masks are done correctly and with care, they can be awesome. When anything gets rushed and corners are cut too much, the end result suffers for it. T.O.T.S (and others) put out quality products, because the manufacturing company is well-qualified at what they do. They know what they’re doing, and care about the product being put out.
Q: Do you have any medical or scientific background? I ask because pieces such as Merrick and Arachnoid are so spot on and realistic. You are also very skilled at expressing age (Old Coot, etc)? Any particular methods you utilize to capture your subjects so well?
A: No, not really. I had art classes in college that really focused on anatomy. A figure sculpture class that I took even went so far to make us learn all of the names of the major bones and muscles in the human body AND we went on a pseudo filed trip to the biology class where they had six or seven human cadavers for their pre-med students to dissect. I don’t like the real thing. Looking at real blood makes me queasy. So, being up-close-and-personal with real cadavers was a nightmare come true, for me. But, I still managed to take a slew of photographs while in that classroom that I still refer back to you on occasion. Whether it’s a zombie mask or an aged character, I always try to utilize good photos, life-casts, whatever I can find for reference when sculpting or painting. I look at people and animals. I study forms and colors while I’m talking to someone.
Q: What other mediums do you enjoy working in (art, music, etc)?
A: I enjoy painting. I mean, fine art painting. Portraits, mostly. I haven’t really had much free time to sit down and paint on canvas again. But, it’s definitely something I have on my personal to-do list.
Q: How did you get involved with Knott's Berry (Scary) Farm and are you still participating in their endeavors? Are you currently working on any other haunted attractions?
A: I worked as a prosthetic makeup artist at Knott’s for two years (2000/2001). I then received an email from one of the actors asking if I could make a custom latex face mask for him. It just all snowballed from that one actor. Each year, I make anywhere from 20 – 35 custom masks for individual actors, now.
Q: What are your thoughts on hoods? Do you plan on making more?
A: I like hoods. Hoods are good. :o) I do plan on making some more in 2012.
Q: How much of a bitch is it to hair that Bigfoot?
A: Putting all that hair on the Bigfoot mask is quite the time-consuming effort! There is a bit of Zen involved when hairing that mask.
Q: Dream Girl is...umm...really interesting, haha. Most folks didn't know about this scene until after the documentary "Never Sleep Again" but still had circulated in years past. What made you want to do this mask/bust and what kind of response have you received from Elm Street fans and devotees of your work?
A: I chose to make a bust of the deleted scene just because no one else had done it (to the best of my knowledge, anyway). I love taking on the movie characters that just haven’t been done to death. The response has been positive to the Dream Girl bust (both versions).
Q: The Troll 2 mask has always criticized for being one of the worst to appear in a film, so it's kind of strange to compliment you on how well you captured it, haha. What do you think about this piece and do you plan to portray any more citizens of Nilbog in the future?
A: Troll 2 is a very bad flick! I hadn’t seen it until I was commissioned to make this mask. Part of my reference material always involves watching the film the character is in. I found it quite challenging to sculpt in a manner that it isn’t quite as refined as I’m accustomed to. I’m not saying that I’m the world’s greatest sculptor (not by any means), but skills and techniques I’ve acquired over the years did have to revert a bit to get that likeness right. Currently, there are no plans to add any of the other trolls, or goblins, to my lineup. But, that’s not say, I never will.
Q: In respect to Alex's "Flukeman", what is your favorite X-Files episode?
A: There’s an episode with Ed Asner and Carol Burnnett as ghosts that I really enjoyed. I think it was a Christmas episode. I don’t know the title of the episode.
Q: What do you love most and enjoy least about the mask making business?
A: I love to hear about, or see, people enjoying my work! That’s the biggest pay-off of all. The thing I like least are the long hours that can sometimes be associated with mask-making.
Q: Obviously, online sales have changed the mask making community a great deal. PayPal and the like protect fans from shifty sellers and allow a comprehensive review of the products, while artists have a chance for smoother transactions and getting their offerings out to the widest audience possible. Still, I know that with all technology, there are definite downsides in addition to the positive qualities- could you offer your perspective on this and how it's altered your business model, if at all?
Q: Any books/films/TV shows/albums that you are really into right now?
A: I’m enjoying “The Walking Dead” on TV. Albums…I’m a fool for anything Iron Maiden has put out, or will ever put out.
Q: Do you have intentions to add to your props and figurine lines? Does working on those pieces act as a nice break from masks? Also, I love the Killer Sandwich- are you planning to make more puppets?
A: I do, actually, plan on expanding the props and puppets in the next few years.
Q: What is something you are thankful for?
A: My family and friends.
Q: Would you be able to offer up a sneak preview of what's in store for 2012 at LDU?
A: Many more original designs are coming in 2012! There will be some movie-inspired masks, as well. But, mostly originals. Some of my own design. A few designed by others. And, there will be some new things that you might not expect to see at LDU…but, I didn’t put “Designs Unlimited” in the name for no good reason!
Q: As I am sure folks mess it up all the time, can you phonetically spell your last name? :)
A: Loo-baw-tee.
Q: Anything else you'd like to add?
A: For anyone who has even an inkling to try their hand at mask-making, sculpting, painting, or anything artistic, just dig into it! Don’t be afraid of making mistakes. Everyone does. And, that’s how we learn and grow as humans, not just artists. Also, don’t be afraid of tearing something apart that you’ve spent a lot time of time on and re-starting it. You might be amazed at how much better that something will be the second or third time around! So, get your fingernails dirty and make some tHiNgS!
www.lubattidesigns.com
INTERVIEW W/BEN SCRIVENS, FRIGHT RAGS.
Interview w/Ben Scrivens
Fright Rags
www.fright-rags.com
To most fans of Fright-Rags, I'd say the biggest change in the last 24 months is the switch you've made to ringspun shirts. Personally, I have really enjoyed them and I felt the transition was smooth but obviously, it was a big move in so many ways. I am not going to ask you to rehash the whole process as it was well documented in this FR blog entry (http://www.fright-rags.com/
For the most part, the response has been positive. Sure, there are a select few (including some good customers of ours) that would have preferred us to stay with the old brand of shirt we used. Some of them refuse to buy from us now. But then again, we’ve had people that wouldn’t buy from us before, when we were using those shirts, and now buy from us regularly. We’ve lost a few people, and we’ve gained a few. Regardless, the transition had to be made. I got to a point where I wasn’t even wearing our shirts anymore because of how uncomfortable they were. And that’s not a good sign.
While most enjoy the ringspun, I have heard a few dislikes from fans regarding the sizing/fit of these compared to the old Gildan ones (which I find funny since this has always been a common complaint lodged against that brand). The price increase has also lodged some moans and groans. I know you have firm faith in the mantra of "I'd rather explain the price than apologize for the quality" and obviously you can't please everyone but I wonder if you could take a moment to address these questions and concerns:
Well, the price increase comes with an increase of quality (i.e. ringspun shirts) and also cotton increases as well. But it also comes from our brand position. We want to be able to provide top notch designs, on top notch shirts, and deliver top notch service. Quite frankly, that costs money. I look at Fright-Rags as a premium brand. If you want “just a shirt”, I can point you to several other sites that will sell you a horror shirt for much cheaper than we do. I’m not interested in customers who are looking for the lowest prices. I’m looking for those who appreciate fine original art and understand quality. Competing on price is a race to the bottom…and that’s not where I want to be. That said, I do not feel we are gouging people either as our prices are quite standard among similar sites offering similar quality products.
It's pretty crazy to think you guys have already been in business for nearly a decade. When you started Fright-Rags, did you ever think it would grow to be the gold standard in horror shirts?
Absolutely not. I’d be lying if I didn’t have visions of growing the company, but I relegated those to daydreams and never thought they would be a reality. But here I am, 8+ years later, waking up every day to do this. It feels great. It’d also the hardest I’ve ever worked in my life, and I’m astounded by how much I’ve learned along the way…and how much I have yet to learn.
In the same vein, I've noticed a massive surge in the amount of horror related merchandise year round; I mean, we are about the same age so I have no doubt that you remember when getting the new issue of Gorezone, finding a Screamin' vinyl kit or mailing away for a puffy print TCM2 shirt was the like hitting the lottery. Now, I am probably shelling out $1000 a year on horror merchandise and am barely scratching the surface. Without a doubt, eBay, PayPal, Etsy and folks own sites have fueled this increase but it just seems as though community has really found its crest. I am sure this is a boon to Fright Rags, such a supportive environment but do you ever worry that it will lose its momentum and be maintained just by the often fickle diehards as opposed to a boost from the general populace? Also, how has the downturn in the economy over the last few years affected Fright Rags in respect to materials cost, less disposable income from consumers? I don't think a lot of fans are aware of these kind of issues.
Yeah, there has definitely been a surge in the horror community over the past 6-7 years and I do wonder how long it will last. I think the mass-market companies will see diminished returns sooner as it’s so hard to compete in brick and mortar stores these days with all the online shopping. So stores are trying to stay relevant and that might mean cutting back on the fringe categories that horror tends to dwell in. Then again, you can now walk into a Toys ‘R Us and buy a Jason hockey mask…go figure. As far as Fright-Rags goes, I do often wonder where any eventual downturn in the market or fallout from the economy will take us. I do think diversifying is good, and there are other areas and markets I could see getting into. I also think that the collectors market will always be there, and there will always be a demand for shirts and other collectibles, no matter what. T-shirts as “wearable art” have been around for years and I do not think that will change. Plus, it’s an affordable luxury…we’re not talking about a $1,000 fur coat. So it’s up to us to keep putting out shirts that people want to wear.
Fright-Rags is well known for its motto of "kick ass original horror shirts" but I've noticed that over the years, this desire for personalization and innovation has even extended to the shipping bags, imprinted tagless "film ticket" tees and printing of your own "Fright Flicks" style trading cards. Are you planning to branch this trend anywhere else (shipping tubes, other bonus items, etc) and is are these extra touches something view as enhancing the experience and building your brand?
I’m always looking for ways in which we can extend our brand. I’m always mining my own childhood for things I thought were cool and trying to figure out a way to bring them into what we do. Like the Fright Flicks cards…I wanted to do our own, so we did. I want to create an experience for the customer. I want them to open up their mailbox and see that distinct bag looking back that them and forget all about their bills, or worries, and run inside to open it. And then I want to wow them again by including something extra inside. Sometime I’ think people buy our shirts just to get a free Warhead inside! It’s all about experience and enjoyment. Once and awhile, it’s good to feel 12 years old again.
Since we are talking about your expansion, how many employees are involved in Fright Rags now and can you talk a little about who they are and what they do?
Right now I have two full time employees and one part time employee. Tim is our Phantom of the Warehouse (i.e. shipping manager) and works tirelessly at pulling, packing, and shipping all the orders. He is assisted by Jes who helps him out part time. Kristy is our Executive Director of Service and Sass (i.e. customer service) who handles customer service, some bookkeeping, and a host of other duties along with going to shows and, in general, pimping us out everywhere. I also have another bookkeeper and accountant who I work with on a regular basis, and great team of designers I work with too.
For quite some time, Fright Rags has been associated with artist Jeff Zornow whose has work has been part of countless, popular offerings. Yet, I know you keep a stable of around 8-10 rosters. Anyone you wanted to highlight? How do you choose what artists you work with?
I’ve been extremely lucky to have worked with some great and talented designers over the years. Aside from the amazing Zornow, a few that stick out are MunkONE, who actually contacted me a few years ago and ended up doing designs for us such as Braindead, Tide You Over and a few others. Lately I’ve been working with Justin Osbourn who has a great eye for that 80s retro style seen on so many VHS covers from our youth. He recently did our Hatchet shirt and poster and nailed the look perfectly. I have no idea how he does what he does, but I imagine he has parted ways with his soul to do it…it’s incredible. As for how I decide on the artist, it all depends on the concept. If I have a specific idea in mind, I can usually tell who would be good for it. Or sometimes an artist comes to me with an idea and if it fits, I let him roll with it.
Fright Rags does not accept unsolicited submissions from freelance artists but I recall something about a fan design contest- any additional information on that?
We hosted a fan design contest years ago. I’m not opposed to doing another one, but we really have to take into consideration various copyrights when letting people design for whatever they want. So, if we ever do it again it will be with restrictions.
The "We Belong Alive" special edition originally created to help your friend Leisha is now being reprinted to raise funds for METAvivor. You give a good overview on this but I was wondering how Leisha and her family are doing and is there any way donations can be made directly should readers want to?
Leisha is doing well and is still receiving regular chemo and radiation treatments which will continue t least until March/April 2012. When I last spoke with her she was in great spirits and continues to fight this deadly disease. She is an inspiration and I cannot wait to see finally in remission. For those who would like to donate directly, here is a link: http://funds.gofundme.com/pp7k
Fright-Rags seem to have a really good sense of humor, as do most horror fans (although not all) with shirts like "All My Kittens Now", "Screaming Like Banshees" and "The Real Lost Boys." What kind of feedback have you gotten on these particular pieces of horror hilarity? Bonus question: what is your favorite horror comedy of all time? (Extra credit: Will you guys being doing anything in conjunction with the recent ROTLD retrospective book and documentary?)
We’ve gotten some pretty good feedback on most of our humor/parody tees. There have been some people who hated them, as is the case whenever you go out on the fringe and do something different, but I take it in stride. Our sense of humor is part of what makes us unique. I mean, the first design I ever did was What Would Jason Do?, so doing the “Kittens” design isn’t too far off. In general, I find that the majority of our customers share the laughs with us.
As far as a favorite horror comedy goes, that’s a tough question. Return of the Living Dead definitely comes to mind, as do films like Beetlejuice, Ghostbusters, and Tremors if you count those as horror comedy. We have been approached by the producers of “More Brains” about the possibility of doing a shirt, but as of right now we have not made a final decision.
Speaking of humor, you guys have been collaborating with Adam Green on numerous designs. How did you get hooked up with him and do you guys have any other designs (especially those based on his annual Halloween shorts?)
He actually contacted us a few years ago about selling his own shirts (that he was currently selling on his site) but I turned it down because we didn’t want to sell shirts you could buy anywhere else. However, earlier this year he decided that he needed someone to take over that part of his site, so he contacted us again about selling shirts on an exclusive basis. This time we were able to secure rights for his films and the ability to create our own designs based on them. Adam is a great guy and it’s been a dream come true to work with him as I love the Hatchet films and Frozen.
Another group you are involved with is the film making collective behind the "Never Sleep Again" and numerous other first rate documentaries. How soon did you try to get this shirt out once you saw it?
We had actually been in talks with the producer before the film was even released about doing a shirt with the artwork on it. I mean, to have a Matthew Peak original on a shirt is just too cool to pass up. Once the DVD came out, I grabbed a copy right away and fell in love with it. It’s just an amazing and incredibly extensive documentary. Once I saw it, it just sealed the deal.
Fright-Rags got a big promotional boost from "30 Rock" actor Judah Friedlander rocking your designs. Without disclosing any confidential information, was he someone who was already buying your stuff or did this come out of the blue? Did you see a big increase in sales after he was seen wearing your work?
I met him at a Monster Mania show in Cherry Hill, NJ. He really liked our shirts and I gave him a few to take home. He mentioned that he wanted to wear one on the show, but I just figured it would never happen. It’s nice to hear of course, but I just assumed it would never come to fruition. Well, he contacted me a little over a year later and mentioned that NBC needed me to sign some paperwork so he could wear one of our shirts on the show. I talked to him on the phone a few mnths later and he had just shot the episode so I knew it would be on sometime during that season. Then, sure enough, in February 2009, he showed up wearing the shirt. It got great air time too, and I didn’t expect it to be so front and center as it was.Immediately following the airing, I checked the site and found dozens of orders for the shirt. We probably sold a few hundred in the first couple of weeks since it aired. and then again when the reruns came on later that year. Even though they never mentioned Fright-Rags, people found us doing searches for it on Google, etc. It was nuts.
An effort I was really impressed with is the King Collection that debuted earlier this year. As a huge King fan growing up with these particular hardcover editions. Was it hard to choose between all the available designs? Do you have plans to expand this line and will you resurrect any of those that have gone out of print?
Thanks! That’s one collection I’m especially proud of as I’ve been a fan of King’s since I was a kid. As far as choosing the artwork, I already had a couple in mind (Pet Sematary, Night Shift) and the hardest part was just getting in contact with the artists. I wanted to narrow it down for the first release, so we just chose the four we did to see how they’d do. They were met with a great response, and I hope to do more at some point.
It seems as though your foray into film screenings was a big success when you had a historic night for Fred Dekker and Tom Atkins by showcasing "Night of the Creeps" and "The Monster Squad" as well a sweet double feature of "The Fog" and "Halloween III: Season of the Witch." Do you have plans for any additional celebrations of the like? Any particular memories you want to share about that event?
That weekend was a blast, and remains a highlight of Fright-Rags history for me. The memories I cherish from that event are of the down times when we weren’t showing the films. I spent all of Saturday afternoon with Tom Atkins eating lunch at a restaurant nearby that overlooks the lake. It was just he and I, talking and eating for a few hours. Or the night that Tom, Fred, and I spent drinking at the hotel bar where they stayed until 3am, again, just talking and sharing stories. It was incredible. Then, on Monday afternoon (after Tom had left), we spent the day at the office with Fred as he signed our posters. We’re sitting there doing our work, and there is Fred, signing away, like he worked there too. Surreal!I hope to do another screening like that again and we’ve been coming up with ideas for another one. I’d like to say that we’ll do it next summer, but I’m not sure at the moment as no plans are nailed down yet. I sure hope we can, though!
There was a rumor going around that I am not sure you will be able to address but it concerns talk that Fright Rags ran into some legal trouble with the limited edition poster for NOTC/MS, due to different copyright restrictions. Any comment?
Really? I’ve actually never heard of that rumor. We’ve never had any problems with it.
Also, how exactly do you work with various license holders to produce designs with their properties on them?
It all depends on the property. Some films are owned by the filmmaker, as was the case with Ted Bohus and Deadly Spawn when we did our design, or Frank Henenlotter with Basket Case. In most cases, we have to track down the company that produced it and see who may own the rights now, especially for an older movie since all movies from the 80s seemed to have switched hands quite a bit. It can be exhausting at times.
Since we are talking about super fun court time, can you shed some light on the lawsuit regarding WWJD?
Luckily, there was never actually a lawsuit. Our original WWJD? design had a hockey mask that was too close to Jason, and New Line Cinemas sent us a cease and desist letter telling us that we had to halt production of that design or risk being sued. I complied, but I also felt that if we took out all the trademarks they own of the hockey mask (no, they don’t own all hockey mask, but they do own various trademarks of the mask that makes it look like Jason including eye hole shape, the triangle, vent hole placement, etc) then I would be able to keep selling that shirt. I sent their lawyers a revised design and in a month they sent me back a letter confirming that it is OK for me to sell the shirt with the revised mask. That is what we still sell today.
Can you discuss a bit about your role in "Thread's Not Dead" book? How did you get involved in this project and what is the most important advice you would give someone interested in entering the t-shirt business?
I’ve worked with Jeff Finley over the years (he designed our Phenomena and Eraserhead shirts) and he contacted me when he first started writing it asking if I would participate. I get a lot of questions from people who want to start their own shirt business and I’m always welcome to share my experience. Hell, I was there once too and was able to make this into my full time job, so why not share what I’ve learned with others?
As far as my most important piece of advice? It’s simple. START. So many people get hung up about the logistics, the technicalities, and all the other crap that they never get anything off the ground. Yes, you need to make sure you have that stuff in order, but if learning how to start a business is getting in the way of you actually starting your business, then that is a problem. It is always a work in progress, it will never be perfect, so you might as well start it now and learn by doing. I still learn something new everyday as I do this.
The entire limited edition thing is a really tough and controversial issue. You covered this in your "Is Limited Too Limited" blog ( http://www.fright-rags.com/
I think going with a pre-order way of handling limited editions helps ease the worry of a particular size selling out. People sometimes complain that we don’t print enough of a certain size when we do our other limited shirts, but the fact is, we print quite a bit more of popular sizes (i.e. large), and they still sell out. So keeping it to a pre-order alleviates that concern, but still allows us to put a cap on it and keep it limited. We won’t be doing that with every limited edition, but probably the majority of them, at least for the time being. My only concern is making people wait the 3-4 weeks for the shirt to ship, and while we don’t get many complaints in that department, I’m extremely sensitive to wait times, and try to do everything I can to keep our customers informed as to what’s going on so they’re not wondering where their shirt is.
Also, I wish there was a system to alert when shirts were going out of stock so they could be picked up more easily? I mean, before they going on sale. Understandably, you are trying to liquidate stock but I really would like the chance to get some shirts before the only option is to wait until they are "back from the dead." What do you think?
We’re working on ways to make that happen. I understand it’s a concern when you don’t know how close something is to being out of print, or when a size is sold out, and I am addressing those issues in a new website design that I hope to unveil in the upcoming months.
What other kind of horror collectibles are you into?
My only other vice besides shirts and DVDs are masks. I haven’t been too active in the community for awhile, but I still lurk around at what people are doing. Being a big slasher fan, I have a few shelves stocked with high end replica Michael Myers and Jason masks, along with a few Freddy Krueger gloves. I also have a few other replicas and screen used props that I display in my home office.
I know you are a big Halloween/MM fan; are you a devotee of the MM mask hobby? If so, what is your favorite "Hero"?
Yeah, I’m a sucker for a Myers mask! All my favorites have been made by my good friend Justin Mabry of Nightowl Productions (www.nightowlpro.com) and my current favorite is his Psycho from a few years back. On the shelf, it looks harmless. But in the right light, damn it’s creepy as hell…just like the Shatner mask in the original film.
Are there plans to extend the 11x17 poster collection or sticker selection? Have you ever thought about making pins of popular designs?
There are no current plans to extend the 11x17 posters, but we will most likely continue to add to our 18x24 signed poster line-up. We do have some original ideas for stickers that will be out some time in the next year. As for pins, I think that would be fun to do at some point, if the idea is right. I’m just not sure if our main designs would translate to a 1.5” circle.
What are your thoughts on recent remakes (Don't Be Afraid Of The Dark, The Thing) and what films are you looking forward to in 2012?
I’ve given up being grumpy over remakes. They are going to happen, no matter what. And yes, I’ve seen my share of them. Don’t Be Afraid of the Dark was ok, but not stellar. I enjoyed Fright Night for what it was, yet it will never replace the original of course.As for upcoming films, I’m curious to see what Rob Zombie’s The Lords of Salem is going to be like. Cabin in the Woods looks intriguing, if only to see what they could possibly bring to that type of storyline that The Evil Dead and Cabin Fever hasn’t already covered.
What is your favorite horror flick of 2011?
Hands down, Hobo With A Shotgun. I don’t know if it’s a horror flick per se, but definitely my favorite film this year without a doubt. The runner up is Insidious.
What did you watch for Halloween month this last year?
We’ve been hosting some horror flicks at a local theater over the past week, and I’ve seen some great flicks on the big screen. Tucker and Dale VS Evil (amazing!), The Woman (wow…intense film), plus vintage prints of The Shining and They Live. I have also been going through all the Halloween films (a tradition), as well as Silver Bullet (another October tradition for me), and Trick ‘r Treat. I don’t get to sit down and watch too many movies these days, but I do try and catch a few when I can!
Not sure if you wanted to have Kristy drive for a second but I wanted to know more about the upcoming Popcorn reissue as there hasn't been an update since July. We need to know! :)
All I can say is that it is in the works. She has secured the rights to the film and a distributor. All that is left is to finalize the contract, which I believe will happen in the next month. Once it does, she will be releasing all the info…and I can tell you, fans will not be disappointed!
I've always been a big fan of the blog; wanted to ask about two very cool stories (your fine lineage in the shirt business) and the story about your time in Germany (the latter of which is was going to ask about when I originally started crafting this interview.) Have you uncovered any more regarding your ancestry and can you talk a little about how the horror scene was in Germany?
Wow, people do read that stuff?! Not too much more is known about my families’ shirt business. I do know that it was quite big in their day, and they made undergarments. There is even a legend that says the term “scivvies” came from my last name “Scrivens”, but I don’t know if that’s true.I don’t recall there being too much of a horror scene in Germany. I lived in a very small town in former East Germany and aside from the local mall, it was as if the wall had never come down there. So there wasn’t much of a scene at all there. I did dabble in the club scene a bit in the nearby larger cities such as Leipzig and Berlin, but it was mostly ravers. One thing I did do was listen to the Misfits box set every single day I was there, literally non stop.
What is happening with the vintage line?
We’ve decided to split the vintage line off from Fright-Rags and give it its own website entirely. The vintage line has always been a great addition to the site, but never quite meshed with our other products, especially since they are custom made and take weeks to get, and our other shirts are in stock and ship immediately. And with some recent issues we had with fulfillment, we’ve decided to pull them from our site and move them to a place all their own.
The great thing about this is that the company taking over printing for us will also be shipping orders which will drastically cut down on shipping time as most shirts will ship in just a few days rather than weeks. Plus, they are a high tech facility that will allows us to offer other types of custom items such as laptop skins, prints, and calendars.
I’m really excited for this next wave of the vintage line and I feel it will be the best for us and our customers. We’re still in the middle of everything, but I hope to have a major announcement in a couple months.
I've always wanted to know this; is there a particular reason for the hyphen between Fright Rags?
Funny you should ask… Actually, there is no reason other than I felt the site domain should have the words separated. Unfortunately, I should have also bought www.frightrags.com at the same time because after we started generating some noticeable traffic, it was picked up by a link bait site and buying it from them is much too expensive to be worth it. So, fright-rags.com it is!
I am not a big hockey dude but when doing research, I learned about the goaltender who shares your name. Living in a region famous for the sport, does anyone not in the know get you two confused?
Yeah, I was made aware of that a few years ago. The only time people ever confused me with him was when Facebook just started and I got an account. Al the people who wanted to add me were doing so because they thought I was the hockey player. So I literally had to add “No, I’m not a hockey player” to my profile page. People stopped after that.
So I understand that you were nominated for Rochester's "Go Getter of the Year" award in 2009? Did you win and what was the feeling of receiving some serious hometown recognition?
No, I didn’t win. I don’t even remember who did, or who was in the running. I can tell you that the hometown recognition has been great though. Around the time that we were on 30 Rock, I was on the local news twice, in three different newspapers, and even a local magazine. It was crazy. My proudest one was a Father’s Day article in our local paper in 2010. I was asked to be a part of an article about entrepreneurs who are dads, which I was happy to contribute to. What I didn’t realize was that I would wake up that Father’s Day morning to see me and my kids on the cover of the paper and the entire article was about us. And while they did talk about one other person toward the end, I thought they were going to be focusing on more people. It was really cool to see that as it puts the two things I’m proud of most together; being a father and running Fright-Rags.
What do you have planned for 2012? Any sneak peaks?
We’re still in the planning stages for next year, but I can tell you that there is no shortage of ideas! We’ve got plenty of limited editions, new designs, and some original stuff coming too. It’s going to be chock-full of horror goodness, you can be sure of that!
I was looking through stacks of CDs recently and I noticed a demo from an Upstate NY brutal death metal band called Veneral Messiah that my friend Barrett from Sevared Records put out. I noticed that it says it was mixed by Ben Scrivens. Is this you? I know you played guitar but wasn't sure about your creative ventures. What other bands have you been in/produced? Are you still involved in the death metal/extreme music scene?
Yup, that was me. To be honest, all I really did was tighten up the tracks on their album and mess with the levels a bit. I don’t fancy myself as a sound engineer or mixer by any stretch of the imagination, but I do like creating music when I can. The main reason I was even asked is because my brother Mike is in the band and knew I could do it. I used to be in a band with both of my brothers but eventually quit because fright-Rags was taking up all of my time. These days my music is relegated to practicing at home and occasionally jamming with my brothers. I do wish I had more time to devote to it though.
As for the death metal scene, I’m not really into it at all. I’ve been to a few Venereal Messiah gigs, but I can’t say I’m a huge fan of that type of music, even though my taste in music is varied. I’m more of an early punk, blues, hard rock, heavy metal fan. You know, just hard enough that your ears bleed but you can still understand what the singer is saying.
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