Author Archives: Eric Ian Steele

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About Eric Ian Steele

Screenwriter, author, comic book and film aficionado, and zombie poet.

News about “Horror Without Victims” anthology

Happy New Year folks,

Hope you are getting back to the daily grind with a new sense of purpose, fueled by too much Christmas pudding and turkey, and inspired by a 72-hour marathon of non-stop TV movies.

Time to start things off on a positive note.

The kind reader at Hellforge has picked out “Horror Without Victims” as his favourite for 2013:
http://matthewfryer.com/2014/01/01/hellforge-horror-picks-of-2013/

If you haven’t done so already, you can pick up your own  copy of the anthology from Amazon. by clicking on the image below…

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12 days of the greatest, not-so-obvious Christmas movies

Seeing as it’s the season to be jolly, I thought I would give you a rather offbeat holiday treat. Here are 12 movies, one for each day of the season, that may not be as closely associated with Christmas as others, but which deserve a look. So if you’re bored with endless reruns of “It’s a Wonderful Life”, check out these gems…

12. The Bishop’s Wife

Cary Grant and David Niven star in this entertanining fantasy comedy about an angel helping out us mortals that plays fast and loose with religion.

11. Rare Exports

Has to be seen to be believed. Finnish production where Santa is in fact a demonic being who punishes children. What’s more bizarre is that it’s a really good movie!

10. One Magic Christmas

Mary Steenbergen has a terrible, terrible Christmas, loses her faith, and is helped out by guardian angel Harry Dean Stanton. Undoubtedly features the coolest angel in the movies, ever.

9. Trancers

Tongue-in-cheek sci-fi actioner that is most definitely set at Christmas in L.A. Tim Thomerson plays Jack Deth, a cop from the future intent on hunting down the murderous zombie slaves of his time-travelling opponent!

8. Lethal Weapon

The daddy of modern action films still packs a punch. Slick and fast-paced with enough laughs and thrills to keep anyone entertained at Christmas.

7. Black Christmas

Margo Kidder stars in this excellent and genuinely unsettling 70s slasher movie set in a girl’s sorority house. Somebody is making crank calls. The twist is that the calls are coming from inside the house!

6. An Affair to Remember

Cary Grant and Deborah Kerr are the star-crossed lovers who wait a little too long. Famously became the central plot idea in “Sleepless in Seattle”. Guaranteed to bring a tear to even the grumpiest grandparent’s eye.

5. Batman Returns

Tim Burton does Christmas in Gotham with Christopher Walken, evil clowns, and Michelle Pfeiffer in latex. What’s not to like?

gremlins

4. Gremlins

This was stupidly given a “15” rating in the UK, so a generation of kids never got to experience “Gremlin Mega-Madness” until it came out on VHS. The final shot of a snow-covered town is just gorgeous.

3. Trading Places

Superb comic caper starring Eddie Murphy and Dan Ackroyd at the peak of their talents. Co-starring Jamie Lee Curtis, in a rather memorable scene involving a curly wig and little else. How can you not like a movie that has not one, but two gorillas?

places

2. National Lampoon’s Christmas Vacation

I had to include this all-time funniest Christmas movie. Worth watching time after time just for the “squirrel attack” scene.

1. Stalag 17

Only Billy Wilder could pull off a comedy set in a German POW camp in WWII. William Holden is fantastic in a movie that never sacrifices realism for laughs, but still manages to be funny.

So there you have it, a few non-traditional Christmas movies to spend the season with. Happy Holidays!

Monsters in the House

Today I’m going to share some secrets with you about how to write in the movie genre called “Monster in the House”.

The late, great Blake Snyder can be credited with bringing this term into popular phraseology amongst screenwriters. Basically it is the kind of movie where there is a Monster… in a House. Geddit? Many horror movies use this genre, but so do many other kinds of film. For example, Blake says in his excellent books “Save the Cat” and “Save the Cat Goes to the Movies”  that the good ol’ Monster in the House includes such films as “Jaws”, “Independence Day”, “Scream”, “Single White Female”, and even “Fatal Attraction”.

So how does this go? Well, put simply, Blake says you must have a Monster, a House, and a Sin committed by one the chartacters that invites the Monster into the House. For example, in “Jaws” it is the Mayor’s refusal to close the beaches, out of fear that it will damage tourism on the island, that invites the great white shark to keep munching on the locals.

 

Birds Film

Alfred Hitchcock’s The Birds starring Tippi Hedren. Can you spot the “Monster” and the “House” in this movie? Extra marks if you can remember what the “Sin is, too!

 

Blake’s books include a whole host of other great observations about this genre and others and I encourage you to read them all. However I thought I would apply this to my own latest screenplay while I was working on it. The result was that I may have come up with a definitive “blueprint” for the Monster in the House genre.

This may or may may not make sense without reading Blake’s books. However, you can find some illuminating examples by visiting his wesbite http://www.blakesnyder.com/ and using the free dowloads there.

Anyway, here goes…

 

MONSTER IN THE HOUSE STRUCTURE BLUEPRINT

1. Setup

The House is introduced and described. The Hero’s weakness is also introduced. Don’t forget to Save the Cat!

2. Catalyst

The Sin is committed, ultimately (but not necessarily there and then) inviting the Monster into the House.

3. Debate

Resistance of whatever is the catalyst by the Hero.

4. Break into Act Two/Turning Point # 1

The main conflict with the Monster begins.

5. B Story

The Hero and another character interact.

6. Fun & Games

Hide and Seek with the Monster in the House.

7. Midpoint

Stakes are raised. The Fun is now over. A and B stories cross. Kiss at 60?

8. Bad Guys Close In

Turn, Turn, Turn as one by one the Monster kills off the Hero’s allies and generally makes things harder for them.

9. Rock Bottom

The Sin is finally exposed. The Whiff of Death occurs.

10. Dark Night of the Soul

Despair. Monster appears victorious.

11.Break Into Act Three

The solution!

12. Final Challenge

The Hero combines his weakness with what he has learned during the story to  defeat the Bad Guy (and optionally Save the Cat if not done before).

13. Resolution

Survival, basically.  Optionally you may show how the Hero has overcome his weakness.

 

So there it is. I’d be interested in knowing what anyone else thinks about this. But it seems general enough to apply to pretty much any Monster in the House script.  Next time I may even break down a popular movie into these component parts to see if it does work all the way through. Until then, keep writing!

 

 

 

 

 

 

More Horror without Victims…

Received yet another very nice review of my story “Clouds” in the superb ‘Horror Without Victims’ anthology from Matthew Fryer at “Welcome to The Hellforge”. He calls it “an odd but absorbing tale of existentialism”. Well, if you’re going to write about existentialism, it better be absorbing is what I say!

You can read the review of the full anthology, including the other stories here:

Review – “Horror Without Victims” edited by DF Lewis

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“Horror Without Victims” is available on Amazon.com and is published by Megazanthus Press.

Are you still here? What are you waiting for? I just said it was available! Go buy a copy!

 

Horror Without Victims

A very nice and quite detailed review of the “Horror Without Victims” anthology by Megazanthus Press, which includes my own story “Clouds”:

My Review of ‘Horror Without Victims’: An Anthology by DF Lewis

If you haven’t checked this book out yet, I would encourage you to take a look (not least because it features yours truly!). See if you agree with the idea that you can write a horror story without any victims!

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10 comic book superheroes who deserve their own movie…

Ahem…

(In ominous voice)

In this blog, dear reader, I tempt vilification by geekdom. Should I leave out a beloved favourite, I will no doubt suffer the wrath of comic book fanatics everywhere. And yet it would be remiss of me indeed not to at least attempt a short compendium of comic books which should have their own movie.

Some of the creations listed below may have already had their own movies, but these were either so bad they have been entirely forgotten, or so low budget as to demand a proper blockbuster version. You decide…

Marvel enters the 1970s with Heroes for Hire.

Marvel enters the 1970s with Heroes for Hire.

10. HEROES FOR HIRE

Created at the height of the Kung-Fu/Blaxploitation movie genre craze in the 1970s, the Heroes for Hire became major fixtures in the Marvel Universe. Comprising Iron Fist — a Westerner trained in mystical kung-fu arts by interdimensional monks — and Luke Cage aka Power Man — a street fighter given a second chance by an experiment that made him virtually indestructible, the Heroes for Hire were just that. Motivated by dollar bills rather than altruism, they usually managed to stay on the side of good. Actor Nicholas Cage was so taken with Power Man that he adopted the character’s second name as his own. Surely worth a movie?

9. POWER PACK

Invented by Marvel in the 1980s, this is the story of four ordinary children who receive super-powers from a dying alien, Power Pack faced the menace of the alien Snarks, who were hell bent on Earth’s destruction. Tasked with rescuing their inventor father from the Snark mothership, these kids behaved like real kids — squabbling, crying, and discovering their inner heroes. This one has Disney stamped all over it. A terrible TV pilot made in the 1990s is best forgotten.

8. HOURMAN

An unfairly maligned character, Hourman was a Golden Age superhero who appeared in All Star comics before being revamped in DC comics by supergenius comic book creator Gardner Fox (Flash, Green Lantern etc etc). Chemist Rex Tyler discovers a miracle pill (Miraclo) that gives him superpowers… but only for one hour.  The twist was that Miraclo was addictive, which gave this character a greater psychological realism than others of his era.

7. THE MAN CALLED NOVA

Richard Ryder was Marvel’s 1970s version of Peter Parker  — a weedy loser who was given incredible powers and became “the human rocket” when he was zapped by a spaceship and given the powers of a Centurian Nova Prime, guardian of the planet Xandar.  Ryder had a popular comic book, teaming up with other heroes such as Spider-Man, before finally relinquishing his powers. An awesome-looking new version of the superhero was launched for the Annihilation: Conquest storyline in the 2010s, proving that Nova can still attract the fans.

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Nova rockets into the 1970s!

6. SLAINE

Pat Mills’ extraordinary Celtic barbarian warrior first graced the pages of 2000AD at the turn of the 1980s. Since then his popularity has endured. A rather “earthy” hero, Slaine is accompanied on his journeys across time by the disgusting dwarf Ukko, and has faced off against both aliens and dinosaurs. But Slaine’s most unique feature is his “warping” power, in which he channels the energy of ley-lines to became a monstrous, Hulk-like behemoth!

5.DR. STRANGE

Created by Stan Lee in the 1960s, Stephen Strange was a gifted surgeon with a drink problem. After crashing his car, he was found by the Ancient One and schooled in the mystic arts to become Earth’s sorceror supreme. A classic, old-school superhero, Dr. Strange’s adventures took him to all manner of fantastic and bizarre dimensions thanks to legendary comics artist Steve Ditko. A TV movie was made in the early 1980s with John Mills that actually wasn’t all that bad. Time for another try, methinks.

4. THE SUB-MARINER

Originally a villainous foe of The Fantastic Four, Prince Namor of Atlantis grew to become much more than that. Namor’s supreme pride and arrogance makes him the perfect anti-hero. He’s had his own comic book on and off since the 1960s. But a movie? Well, it would be better than “Aquaman”. If only they could get rid of those nutty wings…

Prince Namor, cousin of Colonel Sanders.

Prince Namor, cousin of Colonel Sanders!

3. THE BALLAD OF HALO JONES

Before Watchmen, Alan Moore created a host of genius characters, many for British comic 2000AD. Halo Jones is an Everyman, or rather, an “Everygirl”. Born into an overpopulated Earth in the far future, she seeks escape and adventure beyond the stars, only to find abject misery, cruelty, and exploitation at every turn as both a scantily-dressed hostess and a battle-hardened warrior in a horrific future war. Gloriously pessimistic.

2. WONDER WOMAN

The archetypal female superhero — so why has she never had her own movie? Played by Linda Carter on TV in the 1970s in a series that was far too campy for its own good,and invented by psychologist William Moulton Marston, Wonder Woman exemplified the fighting spirit of America in WWII. This is a superhero with a  history as long as Batman and Superman. An attempt was made to revitalize the character recently but proved a misfire. But who could step into Wonder Woman’s boots and lasso?

1. SWAMP THING

When Alan Moore was lured to America by DC comics in the 1980s, he reimagined this floundering comic book property. From his humdrum origins as yet another product of a scientific experiment gone wrong, Swamp Thing was transformed into one of the finest comic books ever written. Moore’s magnificent “American Gothic” cycle sees Swamp Thing encounter all manner of staple horror monsters, all wonderfully reinvented to reflect modern America…. menstrual werewolves, water-dwelling vampires, radioactive zombies, haunted houses filled with the victims of gun crime. Swamp Thing journeys across the multiverse, from Heaven to a Hell that is the most completely imagined vision of the afterlife in the history of comics. During this we are also introduced to a British psychic called John Constantine. Swamp Thing was made into two attrociously bad movies in the 1980s as well as a TV series. None of them have (thankfully) anything to do with Moore’s work. This is a comic book that is ripe for the big screen (pun intended). Forget the other big green guy. Swamp Thing is where it’s at!

Music is Your Friend…

Do you listen to music while you write?

Sounds like a banal question. But many writers are heavily influenced by music, while others say it helps them to concentrate and focus.

Alan Grant, comics writer of “Batman”, “Judge Dredd”, and many more, says he listens to music for an hour or so each morning before he starts to write. Evidently it gets his creative juices flowing.

Personally, I prefer something instrumental. I won’t bore you with a list of my favourites. Suffice to say, it includes plenty of heavy 1970s electronica and Baroque classical. Anything I can get my hands on that provides ambient background music. Hypnotic white noise helps me to zone in on the page.

Other writers have used music to do more than focus, however. Take Alan Moore. Almost every chapter of “Watchmen” has a musical lyric as its title – a conceit used to brilliant effect in the movie soundtrack. In fact, several of Moore’s stories seem to have been directly inspired by lyrics.

Music can capture your mood. Or it can provide you with tangible inspiration from its lyrics. Just don’t play that Eminem record at full volume on your iPod in the library, or I may have to hit you. Hard. With a book.

So find your muse, find your mood music, and write away…

Why was He-Man so crap?

he-man

Today I am tackling an issue that has been playing on my mind for many years. Several attempts were made in the 1970s and 1980s to fuse fantasy with science-fiction in movies. This is not a new trend, and is generally called “Science Fantasy”. For instance, Edgar Rice Burrough’s John Carter novels are science-fantasy. CS Lewis (of Narnia fame) even wrote a religious allegory sci-fi series known as the “Space” trilogy.  In movies we have 1983’s “Krull”, the notorious flop “John Carter”, and the lilttle-known but half-decent movie “Pathfinder”.

But what does these have in common? Well, they are crap.

That’s not to say we can’t love them. “Krull” has a particular place in my heart, not least for the amazing Freddie Jones and the use of actual British character actors. The CS Lewis novels are great flights of fancy (although totally scientifically incorrect).

But for some reason critical success has mostly eluded these works. There is something about the melding of high fantasy (magic, swords and sandals) with science-fiction (high tech, high concept) that creates works of daftness rather than genius.

Take He-Man.

He-Man has his roots firmly in Robert E Howard’s “Conan” stories. With a technological twist. His home planet Eternia contains magic but also machines and flying vehicles, cyborgs and laser-guns. You would think that such a world would provide great images and great storylines. Instead, it always manged to be childish and rather stupid. Like GI Joe on Magic Mushrooms.

Jitsu - one of Skeletor's less memorable henchmen.

Jitsu – one of Skeletor’s less memorable henchmen.

The animated series was designed to promote Mattell’s line of action figures, whish was apparently created to cash in 1982’s “Conan” movie, but which had to be redesigned when said Arnie movie featured so much nudity and gore that it was rated “R”. However this may be apocryphal.

For He-Man newbies, He-Man was in fact Prince Adam of Eternia. A fact that nobody could discern despite being identical and never wearing a mask. He rode a cowardly beast that transformed into a fiercer version whenever Adam became He-Man (nobody bothered to explain why in a planet where everybody could use flying vehicles Adam settled for riding on the back of his pet cat).

Nothing too unusual there. If we can buy Superman, why not Prince Adam? But unlike other cartoon characters, there was something udneniably dorky about He-Man. Possibly it was his very name. The far more successful cartoon TV show “Dungeons and Dragons” had some genuinely unsettling moments. But He-Man’s greatest foe was… Skeletor.

Ah, Skeletor. Far more likeable than He-Man with your silly plotting and villanous laugh. But the unfortunate bad guy only ever managed to surround himself with complete morons who alway fouled up his schemes. He may have had more success working with the Three Stooges than the likes of Beast-Man, Mer-Man and Lockjaw.

Skeletor - the villain everyone loves to hate... almost.

Skeletor – the villain everyone loves to hate… almost.

Which brings us to the 1987 live-action movie.

In fact, it’s not that bad when watched today through the tinted lenses of nostalgia. Meg Foster is eerie as Evil-Lyn, the plot (albeit a bit silly) is so perfectly “Eighties” that it’s watchable. Frank Langella provides a suitably grave Skeletor. However the plot suffers from two things – cliche and a lack of credible worldbuilding. Lines like “It’s too quiet” grate. Gone is the backdrop of Eternia (struck out for budgetary reasons). And the characters are all pretty stock and one-dimensional.

Perhaps part of the problem is the inherent silliness of the science-fantasy genre, a genre that exists only to draw attention to itself. Science-fantasy stories scream out, “Look how clever I am!”. But in fact they only use cliches from both genres, creating storylines with few surprises  but which also strain our credibility.

Consider “John Carter”. Not only are we supposed to believe  in aliens, life on Mars, teleportation, a second set of aliens, and magic… but a third set of competely different aliens as well. Phew!

So there you have it. He-Man’s crapness is inherent. It both endears us to him and repells us, as it does with many other high-bidget flops. On reflection, I think it’s because using two genres (some may say opposing genres) weakens the depth of storytelling. We are so concerned with the language and imagery of the story, that there is no room left for what audiences desire most… plot twists and great characters.

So my advice is.. avoid the science-fantasy genre altogether. Unless you want to produce a very expensive white elephant.

And I bet you thought I would never get any writing tips out of this post! 😉

What can we learn from “The Conjuring”?

THE CONJURING (2013)

Director James Wan, Writers Chad and Carey Hayes

Stars Patrick Wilson, Vera Farmiga, Lily Taylor

 

NOTE: I’VE TRIED NOT TO INCLUDE ANY SPOILERS, BUT READ ON AT YOUR OWN RISK IF YOU’VE NOT SEEN THE MOVIE.

The biggest hit of 2013 so far must be “The Conjuring”. Delivered on a budget of just $20 million, it has raked in over $120 million so far and is still in theatres.  It charts ahead of much bigger movies such as “Olympus Has Fallen”, “The Hangover Part 2”, “The Wolverine” and of course the infamous “Lone Ranger” movie. So why is it such a smash hit?

I went to see it, expecting it to be over-hyped, and was very pleasantly surprised. Not only is “The Conjuring” a well-made and well-acted movie, it is extremeley scary. This is no exaggeration. “The Conjuring” is definitely the best movie of 2013 so far.

The movie comes on the heels of Director James Wan’s 2010 opus “Insidious”, although you could be forgiven for thinking that 2012’s lookalike “Sinister” was related.

Looking back at “Insidious”, we had another strong performance from character actor/lead man Patrick Wilson (Nite Owl in “Watchmen”). But what was interesting about “Insidious” was the way the movie tried to push the envelope with the horror genre. There were a couple of standout eerie moments. However the picture lapsed into an action/fantasy movie toward the third act, which lessened the effect of the scares.

The plot is simple enough: two psychic detectives (Wilson and Farmiga) take on a haunting in an old house where Taylor and her family (her working joe husband and five young daughters) have just moved in and are experiencing some frightening ghostly goings-on. The uncover a sinister force driving the hauntings, which continue to grow in violence and, what’s worse, seem to react to the couple’s presence in the house.

To an extent, “The Conjuring” is a refinement of Wan’s previous movie. However  this movie opens with a bang (literally) instead of a slow burn. In fact, the movie delivers almost everything up front. From the creepy titles (an oft-ignored aspect of filmmaking) we are plunged into terror. The opening sequence which features a demonic doll is one of the scariest I’ve ever seen. Who knew that dolls could become creepy again after the debacle of “Child’s Play”?

As if that wasn’t enough, Wan and his creative team go on to deliver an expertly crafted series of scares. Each one just as terrifying as the last. The roller-coaster ride (or should that be ghost train?)  is helped by excellent performances, not just from Wilson, but from horror veteran Lilly Taylor, who really outdoes herself in this movie, as well as the ever-off-kilter Vera Farmiga as the other half of the ghostbusting duo.

But what really impresses about “The Conjuring” is the quality of the scares. Each one goes shows us something that has never been seen before. Yes, the ideas themselves have been copied from other stories (the evil doll, the ghostly bangings, demonic possession). There are also notable nods of the head to older classics, such as when Taylor’s husband wakes up to find the TV showing only static, an obvious reference to “Poltergeist”.

But “The Conjuring” goes further. this is not just an evil doll. This is a mightily pissed-off evil doll that sounds like a 300lb giant hammering on the door. The “ghost”, when it does appear, is exceptional. Especially in two memorable scenes, one involving a sleepwalker and a wardrobe, the other involving something as mundane as hanging up washing on a clothesline.

To say that “The Conjuring” copies other movies is like saying “Forbidden Planet” is ajust a copy of “The Tempest”. This is a bravura piece of horror filmmaking that is sure to establish Wan for years to come as a horror great.

The lesson? Go farther.

A good example of another ghost story which pushes the envelope is 2001’s Japanese movie “Pulse” (forget the remake) which goes from eerie hauntings involving the Internet to an apocalyptic third act.

It is true that the movie runs out of steam to an extent in the third act, where it changes pace and tone becoming more of an action movie spliced in with a demonic possession movie. As a result, the scares diminish. The character development is pretty sketchy also, but is just enough to add some depth to a very plot-driven movie. “The Conjuring” is definitely at its best for the other two thirds. But what a two thirds they are!

Audiences love to be surprised, and I was. The scares are not your everyday jump-out-and-scream variety. nor is there the reprehensible “torture-porn” of recent “hits”. Instead, “The Conjuring” is a creepy and frightening horror movie.

Go see it!