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Brian W. Collins - Horror Movie A Day: The Book

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Brian W. Collins Horror Movie A Day: The Book

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HORRORMOVIE A DAY: THE BOOK

by Brian W.Collins

Edited by

JaceAnderson

MeredithBorders

KolleenCarney

Foreword by

Todd Farmer

2016


TABLE OFCONTENTS




SPECIAL THANKS

Horror Movie A Day would be apretty threadbare site if not for the inadvertent contributions of BlockbusterVideo (both the store and online rental service), Netflix, The New BeverlyCinema, Moviepass, Shriekfest, Fantastic Fest, Frightfest UK, and Hollywooditself. Anchor Bay, Image Entertainment, and Scream/Shout Factory also deserveprops for being the only companies to regularly supply me with review copieswithout my having to beg. Personal friends Mike Williamson (backyard screeningking), Rob Galluzzo and his giant DVD collection, and especially PhilBlankenship and Jacqueline Greed and their seemingly infinite number ofscreeners (and screenings!) also played a huge role in keeping me with stuff towatch every day.

Id also like to thank Devin Faraci for asking me to join the Birth.Movies.Death.(which was then Badass Digest) team as Horror Movie A Days Brian Collins,validating the site more than I ever could on my own. I couldnt be morehonored to be part of the writing crew there, or more grateful to have MeredithBorders as my editor for the weekly Collins Crypt articles. She also editedthis very book, along with Kolleen Carney and Jace Anderson, because clearly mygrammar abilities are too ungood for just 1 people.

Likewise, thanks to Brad Miska (aka Mr. Disgusting) for givingme my first regular writing gig at Bloody-Disgusting, and Rachel Belofsky ofScreamfest LA for being the first to acknowledge HMAD as a real site when itcame time for press-y type stuff. For the first year I lived in LA I didnthave a lot of friends or a social life to speak of, but volunteering atScreamfest in 2006 (and attending every year since as press) changed all thatfor the better.

HUGE thanks to JB Sapienza for not only designing the cover, butalso roping in several of the other artists who contributed those terrificimages you see at the top of each chapter (and he did one of those, too). Propsagain to those artists: Nathan Chesshir, Eric Shonborn, Patt Kelley, Joe Badon,Cole Rothacker, Sean Kasper, Daniel XIII, and Jeff OBrien, with additional recognitionto longtime HMAD artist Jacopo Tenani who has done terrific artwork for HMADover the years I wouldnt have done images at all if he couldnt be involved.

Additional thanks to BJ Colangelo, Alex DiVincenzo, SiddhantAdlakha, James McCormick, C. Puffer, and Kolleen Carney for assisting with theboring data compiling (director names, distributors, review dates, etc.) thatallowed me to focus on the actual writing.

Obviously I couldnt neglect to thank my mom, who took me to see PoltergeistII when I was six, rented The Texas Chain Saw Massacre for me when Iwas seven, and (most fortuitously) vetoed my pick of TheGreatOutdoors and instead rented Halloween 4 when I was nine, introducingme to my beloved Michael Myers. Im not saying I wouldnt have discovered mylove of horror movies eventually but I have her and her alone to thank for myterrific head start.

And finally Id like to thank my wife Theresa for putting up withthis crap for over half of her married life, watching a lot of terrible movieswith me (a witness!) and never once complaining that Id take over the TV towatch a movie I didnt even want to see in the first place. A saint, she is. ThoughI think shes still mad at me for the time she wanted to watch something festiveon Christmas Eve and I put on Inside. It didnt go well.


FOREWORD

by ToddFarmer

Myname is Todd Farmer. I went from being that one guy sitting around the campfirein Kentucky telling ghost stories, to being one of the many sitting aroundHollywood writing screenplays. Although I had some raw talent (and by raw Imean unpolished, unstructured and ungood at spelling), I was extremely lucky tofind myself working as a writer within a month of my 1996 arrival. I startedout in horror working for Sean S. Cunningham, the director of the first Fridaythe 13th. Back then, most writers started in horror; low budgets, low pay,low risk. Horror was a stepping stone. A rite of passage. And while therewasnt the competition you find today, it was still tough to get your foot inthe door because only a few places (like New Line and Dimension) were unafraidto make horror. You see, back then horror embarrassed most executives. Mostproducers were above it. Then Scream came out and shoved 100 millionup Hollywoods keister. Before you knew it, every studio and production arm hada genre branch. Genre, because the word horror still embarrassed. As aresult of this newfound financial interest in horror, I found myself withpretty steady work. Craven, Carpenter, Raimi I have even been lucky enough towork with horror royalty! Yeah. Horror has been good to me and with theexception of one challenging year, I have paid my bills as a writer since 1996.I accomplished this with some talent, knowing the right people, a whole lot ofluck, a reliable computer, a love of life experience (both good and bad), andsince 2007, Brian Collins.

I met Brian in January of 2009 when he hosted a Q&A for therelease of My Bloody Valentine 3D (a movie he only supported to get anuncut release of the original). But Id been aware of him because he had beenwatching a horror movie a day for nearly two years. In fact, according to alink I found in an old outline, my first run-in with his website was likelyAugust of 07. A meeting had been set with producers who wanted to remake Stigmata.So, while I waited for the Netflix DVD to arrive I ran across Brians review. Notonly did it refresh my movie memory, it made me laugh. Brian referenced StarshipTroopers without being so boring as to actually mention StarshipTroopers. He referred to a sequence in the movie as a music video edited ona broken Avid. He referred to actor Rade erbedija as the archenemy of spellcheck. More importantly, hegave me his opinion of pros and cons in a uniquely entertaining way. In acompletely outside-the-box-thinking kind of way.

In 2003 I wrote a screenplay for Revolution Studios called Scarecrow.After eleven writers, two directors (one being future friend and partner,Patrick Lussier) and a studio shift, the movie was released in February of 2007as The Messengers. A month later I was contacted by Ghost HousePictures. One of the execs there had read my original draft and thought itmight make a great prequel. One script enters, two movies leave. Since theoriginal concept was, in fact, a scarecrow movie and since Raimi actually lovedscarecrows, by the end of the year I was reading every review Brian had writtenthat contained a scarecrow. Because as Brian wrote in one such review Likejust about every other killer scarecrow movie, it s just fucking stupid. Inthe end, that movie wasnt perfect, but I think we were able to avoid stupid.

Around the same time, I was pursuing the Bedlam remake atRKO pictures. So once again, I checked out Brians site. And sure enough, ofthose 900 or so current reviews, the 1946 Bedlam was one of them. Infact, he even commented on how ripe it was for a remake. I dont think Irealized it at the time but Brians site had become a real resource for me. I wasntjust going there for work; it had become a part of my morning routine. Ofcourse, he wasnt perfect. For instance, he didnt bother to review 1981s MyBloody Valentine until we were in preproduction on the remake. And it isntlike we always agreed. In fact, we rarely do. I mean, I get that Jason Xhas its flaws but ranking it behind Jason Takes Manhattan? Dipshit.

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