DC's

The blog of author Dennis Cooper

25 Magic Shops

 

I read an essay a few years ago by some guy who’d studied the childhoods of people who grew up to be what he called creative social misfits — ranging from artists both professional and private/ outsider to criminals who approach crime in an aesthetic or inventive way — the Zodiac killer, the Unabomber, Jeffrey Dahmer, Charles Manson were among his examples. He found that with rare exceptions they shared an unusually strong childhood fascination with magic tricks, novelty gifts, and the stores that featured them.

Certainly for the younger, peculiar me, being among a vast array of normal looking things that, provided some cash and a mastering of their instructions, could be transformed into sources of inexplicable wonder was the most electrifying sensation possible, and that feeling does correspond to the more pragmatic thrill of working on a novel. But the intensity of the magic shop rush was never quite equalled, although, having been a teenager in pre-internet days, trespassing in porn stores back when stores were all porn had could trigger a similar feeling of being surrounded by a dizzying number of doors into a new, secret, unimaginably exciting world could be opened with a crack of my wallet.

I got to wondering whether the kinds of magic shops I revered as a kid still exist in any number, and, with a lengthy internet search, I realized that they do albeit, in many cases, beefed up into magic-cum-Halloween costume stores, and with the addition of a lifesaving online ordering component via related websites. Then I wondered if some of you might share my wistful and lingering wide-eyed regard of those once transcendent seeming little places. If so, or even if not, here are a bunch of surviving magic shops and links for you to investigate today. — DC, 2003/2026

 

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The oldest magic shop in the United States opened it’s doors in 1873. Located at 493 Sixth Avenue NYC, NY, it was started by two brothers, Francis and Antonio Martinka. Their original shop had 5000 square feet of room with a showroom in the front and a small theatre and workshop in the back. Martinka & Co. was different from many modern magic shops though. They not only sold magic, they built magic. Everything from small props of wood, glass and metal to large stage illusions were crafted in their shop. They possessed a skill that is rarely seen today. Today, Martinka’s Magic Shop is an online magic shop and auction house based out of the shop, which is currently located in Midland Park, New Jersey. They are most famous today for their online auctions of antique magic.

 

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Welcome to Australia’s most famous Magic and Joke Shop!. We sell a professional range of MAGIC TRICKS, JOKES, CLOWN SUPPLIES, NOVELTIES and FUN GIFTS! We specialise in magical fun for all ages! We are a family business with a love for magic and fun. We are currently the largest supplier of magic and fun novelties Australia wide, both retail and wholesale. We bring you a magical range of products that are hard to find but very affordable. If you are looking for something hard to find, then please call us. In Adelaide? Please give us a call and make an appointment to shop in our secret magic studio. Strictly by appointment only.

 

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The Hocus Pocus Magic Shop was opened by Paul Gross in 1976 in Fresno, CA. The real beginning of this story, though, is in October 1960 when a five-year-old Paul Gross watched the first episode of the Magic Land of Allakazam on television. The show, hosted by and featuring the magic of Nani and Mark Wilson, started Paul on his lifelong love affair with all things magic. As a child, Paul was obsessed with magic tricks; as a teenager he started performing magic professionally for schools, clubs, and every venue that existed. As a twenty-year-old, Paul was traveling the USA doing corporate shows for one of the world’s largest banks. He then opened the first Hocus Pocus Magic Shop in 1976; he needed to sell $100 a day to make it work, and make it work he did.

 

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Upon entering the Timid Rabbit Magic Shop in Kalamazoo, one instantly becomes intrigued. The musky smell of history hits the nose and slightly fades as the eyes travel around the store, flickering between magic tricks, masks and props with childlike enthusiasm as they attempt to see every item crammed inside like a jack-in-the-box, ready to explode. The store has over 1,100 magic tricks and is crowded with cinema relics like a spear used in Ben Hur and hiding somewhere in the back is the original shark fin strapped to the boy’s back used in Jaws. They also own a 18,000 square foot warehouse in which they store a labyrinth of items that includes everything from a giant pair of scissors for cutting ribbons at openings to a rocket launcher.

 

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Opened nearly 40 years ago, Ao Rei das Mágicas was the first magic store of its kind in São Paulo. The store is also touted as the largest magic shop in Brazil. Even in Brazil’s most populated city, the store is an oddity. Still, the store has spent decades supplying locally produced tricks and items that have the distinction of having a clear regional flair to them. Upon entering, visitors are immediately confronted with mannequins wearing old terror movie costumes, shelves filled with cheesy latex halloween masks, and a bunch of toys used in pranks and practical jokes. Beyond that, the store offers all kinds of magical tools geared toward beginners and more experienced magicians alike.

 

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Store: Hello? Friend: Is this the B Magic Shop in Arlington, Texas? Store: Who is calling? Friend: (I repeat) Is this the B Magic Shop? Store: (He repeats) Who is calling? Friend: A potential customer…did I reach the B Magic Shop? Store: (awkward pause) Yes Friend: What time do you close today? Store: When you want to come? Friend: I don’t know…what are your hours? Store: When you want to come? Friend: I don’t know…maybe today…when do you close? Store: I’m probably leaving at 4pm today (10 minutes from then). Friend: Oh, ok, thank you. Store: WAIT! When you wanna come? Friend: No idea, I’ll swing out there sometime soon. Store: WHEN? Friend: I don’t know? Maybe next week sometime. Store: (CLICK) Hangs up.

 

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Below the Pike Place level in Seattle’s historic Pike Place Market, three more floors under the Main Arcade spill down the back of the hill. The farther you follow the stairs and ramps below, the more offbeat the shops become. You’ll find rare books, comics, vintage clothing, and Market Magic. It is the longest running magic shop in the Pacific Northwest. As you peek inside the shop you will see pictures of famous magicians that have visited the shop, turn of the century magic posters and a fun, jammed pack place of enthusiasm and wonder. Ah yes, look, there is a throng of quiet kids with big eyes, lined up at the counter watching the famous cups and balls, where balls jump around, vanish and reappear.

 

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Davenports Magic Shop are a real magic shop, based in central London close to Trafalgar Square, Charing Cross station and the Strand. We supply magic dvds, magic tricks, magic books, magic courses and much more. We were established in 1898 by Lewis Davenport, and are the oldest family run magic business in the world!!!! If you are outside the mainline station, cross the Strand (main road in front of the station). You will see a Starbucks and a Paperchase shop – between them there are some stairs going into the underground arcade. Go down these stairs, keep right, Davenports are on the left hand side.

 

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Daytona Magic has been in business since 1966. We started in the Philadelphia area where we were a magic shop carrying both Magic Tricks, Clown supplies, Halloween Costumes Make-up and accessories, novelties and jokes. In 1976 we moved to beautiful Daytona Beach, Florida where the winters are warm and the summers are not too hot, because of the ocean breezes. Most real brick and mortar magic shops no longer exist. Many so called “magic shops” depend on Halloween sales and won’t pay attention to a magician the month of October. Others sell collectables, gifts and novelties. WE SELL MAGIC! We also sell Clown Supplies and Jokes. I’m a prankster at heart and can’t give up the jokes.

 

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Mike Danata’s Magic Studio opened in June 2001, at 121(a) Palmerston Road, in the Boscombe area of Bournemouth, on the south coast of the UK. A small studio with a lot of stock!! Slightly off the beaten track, but actually only a few minutes walk from McDonalds in the main high street, with on street parking outside. The studio is also only a few minutes away from Bournemouth Central Railway/Coach Station. When Mike was a young kid, he dreamed of a “MAGICAL SUPERSTORE”…. that upon entering would fill him with excitement and wonderment. A store so full of all things magical from around the world. A finer place he would never find, a place that existed in his dreams, ……… in his mind. Until now!

 

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Marty’s Magic Shop “where Miracles happen every day” offers all the magician’s staples including: Slush Powder, Slush Wand, Fanning Powder, Quality Silks, Flash Powder, Flash Paper, Wands and a huge variety of Card and Coin Tricks. Marty’s Magic Shop is located in the Big Top Flea Market in Tampa, Florida. You will also find quite a variety of Magic Videos, Illusion Guides and Magic Books. Do you like Coin Magic? We carry the best specialty Coins, Coin gaffs, Coin tricks, and Coin Magic DVD’s.

 

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Welcome to the Illusion Warehouse magic shop in Fort Worth, Texas. Our goal is to supply the best magic tricks, illusions, and theatrical special effects to amateur and professional magicians. In addition to carrying the majority of the classic effects in magic, we are also responsible for bringing-back many items that have been long forgotten. Our facility is dedicated to the preservation of the art of magic and serves as the production offices for Adam & Selina, Masters of Illusion. We seek to advance the art of magic, so don’t hesitate to contact us.

 

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New York City’s Fun Street Magic Shop started with a discussion of this phenomenon which turned to a discussion of what’s missing from the Internet magic scene. There are lots of great magic retailers out there, from the magic shops with national reputations to the great smaller shops that sometimes are run out of someone’s home! Some of these shops have moved their great support and great reputations to the web, allowing the rest of us to have a better selection of illusions, supplies, and information. It would be presumptious to say that there is a huge gap (at least that we noticed), but perhaps what Fun Street Magic offers that is a bit unique is more of a philosophy than a concrete product or service. Magic is fun. It really is!

 

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If you are visiting Wildwood, Florida you can visit Berardi’s Magic Shop. Our store hours are by appointment only. Please call for an appointment. Owner David Berardi can also arrive at your child’s party dressed as Harry Potter! He combines magic tricks with referances to the Harry Potter Movie and the Harry Potter books! David as Harry Potter involves his audience ,with audience participation, from the very beginning , up until the finale’ of his magic show! His Harry Potter Show is geared for kids ages 6 & Up. David ,(as Harry), uses live birds ,(doves) ,& a rabbit in his show. If your kids love Harry Potter, they will love this show!

 

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Discover one of the most amazing and magical places you’ll ever encounter, where you will learn to master incredible illusions like cutting someone in half or making them completely disappear! At Wunderground Magic Shop in Clawson, Michigan you’ll see floating cards, solid spikes passing through your unharmed money, and sponges multiplying right in your hands. As you traverse the maze of secret passages through to the hidden entrance behind the bookshelf, you’ll understand why the Wunderground Magic Shop is an experience unlike any other place you’ve ever visited.

 

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Magic Tricks, Inc. in Charlottesville, Virginia is one of the premier sources of magic for magicians- and everybody who wants to be a magician! We have thousands of satisfied customers worldwide. It’s our attention to detail and our emphasis on customer service that makes us the choice of professional magicians. We feature low prices and a great selection of quality magical effects and supplies. Magicians worldwide have been buying their magic supplies from us since 1971. His magic shop was designed to look like the shop once owned by Houdini himself. Houdini’s desk, Houdini’s pens and a number of personal Houdini items have actually been in the Monticup magic collection, and occasionally on display in the shop.

 

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Because The Great Scot Bardic Magicians Shop does a lot of Renaissance Faires, re-enactments, and historical sites, I am concerned about authenticity, so I choose magic and illusions that will fit into those venues or have them made. Even if the actual trick might have been invented later, I make sure that their construction and look are historical and that what they represent would have been there at the time. I provide historical background on how the item would have been used or viewed in period. We are located at 36 Front Street, Bellows Falls, Vermont.

 

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The Browsers Den has been selling magic in Toronto Canada since 1975, serving amateurs, professionals, semi-pros, and hobbyists both young and old. If you are in Toronto be sure to drop by the shop for an experience you won’t forget. We’ve also been on the Internet for over 10 years, so either way we’re here to serve you. At Browser’s Den, regulars form a core part of the business, allowing the shop to function as a hub for the local magicians’ community. They have customers who have been coming there for 35 years. There’s an inner group of customers who know each other very well, a magic community. At the shop, they have a table and there’s times when guys will sit down and show each other magic—they’ll ‘session,’ as they call it.

 

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Magies est la plus grande boutique de magie au monde comprenant 22 653 articles chez 27 marchands de trucs. Le magasin avait été lancé il y a plus de 10 ans et aucun changement graphique et fonctionnel n’était intervenu depuis. La société nous a interrogé pour refondre totalement leur logo, la charte graphique du site ainsi que toute son organisation fonctionnelle. Attention tout de même, Magie n’est qu’un intermédiaire entre ses fournisseurs et ses clients. On ne sait donc pas à qui on achète réellement. Mais l’assise de Arteco Production doit représenter une garantie suffisante en cas de pépin.

 

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Kurts Magic World in Lansdale, Pennsylvania offers magic tricks designed for the amature magician as well as the seasoned professional magician. Magic tricks and magic illusions are conveniently available through our on-line magic store, as well as through our retail magic store. Kurts Magic World offers magic shows given by Kurt Brasch, Magician, who has over 20 years of experience performing magic.

 

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Stevens Magic Emporium (SME) in Wichita, Kansas has enjoyed over 40 successful years working in the magic business catering to the working professional magician and hobbyist. SME was started by Joe and Martha Stevens. Initially, Joe started selling collectable magic in the 60’s; which turned out to be the springboard that started the larger and full-time operation. Over the years trading magic and information with the likes of Buma Sr., Harold Martin, Les Smith and others, the transformation was made to full time magic in 1973.

 

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New York City’s Fantasma Magic Shop is tucked on the second floor of a deli in a low traffic area of Herald Square. I’d say less than one percent of the people walking by would notice it, though, when I walked into the second floor shop, it was full of teenagers, parents, and geeky adults. The main attraction of Fantasma seemed to be an older gentleman standing behind a glass counter. “Hello, little lady. What brings you to Fantasma today?”, he gave me his best Cheshire cat grin. “I write a blog where I do new things, so today, I’m visiting my first magic shop. Do you mind if I take a short video of your performance?” His grin dropped like the anvil on Road Runner’s head. “No. You can’t. I’m SAG.” Then he remembered his audience, “I was on Letterman, did you know that?”.

 

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Williams Magic & Novelties is an Arizona company dedicated to serving the magic profession. Our family has over 100 years of combined magic background and has been in the retail magic business over 45 years. We’ve been in our current Tucson location for over 22 years. Emory C. Williams, Sr. and his wife Nathailia enjoyed magic as a hobby while they owned and operated a wholesale and retail pet business in their hometown of Caruthersville, MO. They eventually added a magic shop to all the “critters”. In 1989 they sold the pet business and moved to Tucson, AZ, bringing the magic business with them. In 1998 Emory C. Williams, Jr. and his wife Claudia moved from California to Tucson to add even more magic to the family business. We even have a nice restroom for all our nice customers.

 

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Eye of Newt is York’s Infamous Emporium of Magical Supplies. Adjoined to the well known, “Haunted” house on the historic street of stonegate, in the middle of the magical city of York. Open every day from 10.30 -5.30, and 7.30 on holidays and weekends. Magical supplies, extensive range of tarot cards, diverse range of magical and pagan books as well as homemade incense. Cauldrons, broomsticks, wands and athames. Range of flowers, resins oils and herbs,divinatory aids and semi precious stones. Beautiful handmade magical objects. Carefully selected jewellery brazen idols and deity figures as well as altar decorations.

 

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There are so few real magic shops left. The magic shop used to be the place everyone went to hang out, talk magic, and show others what they are working on. It was where you met more experienced performers and learned just by listening. Today it is difficult to get anyone away from their computer screen so they never leave their house. Even lecture attendance has fallen off drastically. It is an interent world and although the internet is full of information, it is not full of knowledge. They are two different things. Knowledge comes from personal interaction and experience. It really is a “social” thing. Let’s get out and socialize a bit more. Please stop by Denny & Lee Magic Studio in Las Vegas, Nevada for a day of fun and interaction. Just some thoughts. Just a way of saying thank you.

 

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‘Familiarity is a magician that is cruel to beauty but kind to ugliness.’ — Ouida

‘Disbelief in magic can force a poor soul into believing in government and business.’ — Tom Robbins

‘Here you leave today and enter the world of yesterday, tomorrow, and fantasy.’ — Walt Disney

‘On these magic shores children at play are for ever beaching their coracles. We too have been there; we can still hear the sound of the surf, though we shall land no more.’ — J.M. Barrie

‘Science is always discovering odd scraps of magical wisdom and making a tremendous fuss about its cleverness.’ — Alistair Crowley

‘Magicians guard an empty safe.’ — Jim Steinmeyer

‘Those who spell Magic with a K aren’t.’ — Anton LaVey

‘Nobody gets in to see the wizard. Not nobody.’ — L. Frank Baum

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p.s. Hey. ** kenley, Hey! You sound so awake. Oh, yeah, I actually have a few distant friends who are hardcore Christian and their brains work very interestingly. My weekend was a good match for my intentions. Yours? You still in the big M? ** sal, Hi. Great, thank you for the link. I’ll go get it. That period in the early 80s when gay poetry was kind of a big deal read by gay guys far and wide was quite wild. Amazing to think (back). I’ll go hook up with you on Instagram, thanks. I don’t know about your warpath, but I can’t imagine it would phase me. Have a good week ahead. ** _Black_Acrylic, Does seem to be, doesn’t it? Great about Nick. Hero! ** Steve, Cool, I’l look for ‘Arcana’. No, we’ve managed to avoid the scam festivals, but they’re really rampant right now. There’s filmfreeway, which is a legit and helpful site, but then there these others that have sprung up that lead one to nothing but fake festivals. One thing we’ve learned is that if there’s a festival that has the word ‘indie’ in the title — Dublin Indie Film Festival, for example — they’re just money grabbers. The other telltale ones have names like, oh, ‘New York Filmmaker Awards’. They don’t even show films. They just get you to pay to submit and then, if you’re chosen, you get a prize — ‘Best Cinematography’ or whatever — to put on your resume, I guess. No, I didn’t get over to the bookstore, but I will imminently. ** Carsten, Yes, that’s the book. I didn’t buy it yet, but I will pass along thoughts once I have it. I didn’t get to the Lucrecia Martel film yet, but it’s playing all week. She’s very, very good. Very worth pursuing. I’ve met committed Christians for sure. I have friends who are. Total believers. I’ll look at the anthology. Never heard of it. Man, maybe the most amazing line up of a concert I ever saw when I was younger was, get this, Jimi Hendrix Experience, Miles Davis, Nina Simone, and the Last Poets at the Shrine Auditorium. Mind-boggling to think. ** Adem Berbic, Shrooms are so nice. I might even do them again one day. I really need to watch ‘Helldriver’ again clearly. ** HaRpEr //, Yeah, it’s amazing about the MNBB’ thing with my poem. I want to meet that guy. There must be a way. ‘Backwardness’ is incredible, yeah. ‘The Gotham Grammarian’ is another great, obsessive book by her. Before ‘The Tunnel’ was published, as you probably know, it was this huge legend in the making for decades, so much so that it was hard to read clearly when it finally came out. Now it’s free of all the speculation and anticipation, and I feel like digging back in. ** julian, Hi. Oh, Christopher Rage was involved? How curious. I mean most if not almost all of those kinds of experimental-ish gay ‘porn’ films of that era look like semi-watchable relics now, to me at least, so siphoning through them to make your own work sounds quite smart. Yep, making something really good is magical enough. ** Nicholas., I can indeed see you as the successful facade of an angel. Watch out that you don’t get typecast. Weekend was a working one, it turned out, but I think I finished the film script. That’s better than having gone out to see stuff. Awww, thank you. You too, you know. ** Thom, Hey, hey. Good pointers from the Allemann interview, or I mean I agree. So happy you’re finding yourself into Pinget. He’s so underknown. He didn’t have the publish luck, at least in North America, that his more famous Nouveau Roman colleagues did. Red Dust is/was(?) a pretty saintly seeming enterprise. Dalkey Archive put out some Pinget books, but they might be o.o.p. I have not read that first Perec novel. Obviously, I’ve been very curious about it. I’ll finally buckle down and get it. Thanks! Nice: the spotlight idea. That zine is going to be so killer. I can feel it. ** Laura, His bloodbaths are a very special variant. I think I remember being told or knowing that Allemann’s other books are very different, yeah. I don’t know what they are, though. Syd is amazing. Now he’s tallish and has short hair. His father is the very interesting composer/musician Imaad Wasif. Today, good? Time will tell. Yours? ** Bill, Shit about the tech issues, but yay that nobody seemed to know/care. Do make a studio version! That’s a no brainer. ** nat, You made it, or I made it, I guess. I’m happy the game dispelled what was ailing your mood. I was really into WWE when I lived in Amsterdam. I think out of boredom and slight fascination with the narratives and by how American it was. But I haven’t kept up. The last thing I remember was when Brock Lesnar pushed that boy with one leg down the stairs, and that was ages ago. Cool you like the Weissman books. He’s hilarious and brilliant. I think he might have finally have finished a new collection after, like, thirty+ years or whatever. That was plenty! ** Okay. I already introduced the post by doing the very rare thing of planting an old piece of writing by me at the top, so I’ll just leave you to it. See you tomorrow.

Yoshihiro Nishimura’s Day

 

‘Filmmaker and make-up artist Yoshihiro Nishimura lives by his own rules. Known affectionately by fans as the uncontested godfather of contemporary Japanese horror, he’s responsible for cult classics such as Tokyo Gore Police and Vampire Girl vs. Frankenstein Girl. A glance at his IMDB page shows just how influential he’s been as a make-up artist: a veritable wizard of carnage. Japan’s Tom Savini.

‘In a career spanning three decades, Nishimura has done about every job on the credit crawl — from gaffer to director. He is best known, however, as a mad master of effects and makeup, spewing blood sprays that achieve a certain demented grandeur and building fantastic creatures that resemble raging piles of medical waste with body parts attached.

‘His low-budget movies may get labeled as sci-fi or action, but they’re little like the films of those genres that at least attempt to maintain a veneer of sanity. Many, such as Tokyo Gore Police and Hell Driver, have played at international festivals and been released on subbed DVDs. Despite this recognition, Nishimura rarely strays outside the exploitation ghetto.

‘Wherever Nishimura dives in, he makes a huge crimson splash—but he’s far more than just a bloody face. A bonafide jack-of-all-trades auteur, he’s a DIY screenwriter, producer, director, make-up artist, FX master and editor. Even better, in the process of achieving all that with minimal outside assistance, he has developed an unmistakable—and surprisingly hilarious—style. His latest victim is the Fantasia Film Festival, where his Kodoku Meatball Machine had a standout North American debut this past month.

‘”My number one goal is to amuse my audience. Many filmmakers are too selfish; they make their movies for themselves, like masturbation.”

Nishimura is pure entertainer at heart. He showed up at his premiere in a blood-spattered white jumpsuit, throwing candy to his audience. During the film’s credits, he stole the mic and danced down the aisles singing along to his movie’s theme music. When the lights came up, he got a standing ovation. And during the Q&A that followed, when an audience-member asked for an explanation of the film’s meaning, he belly-laughed, pulled out a Vodka Nip and downed it.

‘“For your amusement!” he bellowed. “That’s why I give you candy. The film’s meaning is pure entertainment.”’ — No Film School

 

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Stills















































































 

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Further

Yoshihiro Nishimura @ IMDB
YN @ letterboxd
‘Film Your Nightmares’ and 6 More Tips from Horror Godfather Yoshihiro Nishimura
Asian Extreme, Tokyo Gore, and Sushi Typhoon
INTERVIEW : YOSHIHIRO NISHIMURA
An Interview with TOKYO GORE POLICE Director Yoshihiro Nishimura
All’s fair in blood and gore for special effects maestro Yoshihiro Nishimura
NY Asian Film Fest Guests Bring Props

 

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Extras


Yoshihiro Nishimura – splatter + nudity = NSFW clip reel


Greetings from Director Yoshihiro Nishimura


Master Class Yoshihiro Nishimura 2012

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Interview

 

You have been making movies since you were in junior high and you have worked in quite a lot of films through the years. How difficult is it to make a movie in Japan and do you think that it is easier than in other countries?

First of all, making a movie in Japan is pretty challenging. I’ve been making movies in Japan and I can say that both time and budget are very limited. For example, the situation now is getting better but in the past it was so challenging to find all the ingredients for the special effects makeup. Not every ingredient was available in the past, therefore it was a race against time.

I haven’t had much chance to make movies outside of Japan, so I can only speak about the cases in Japan. There is no union in this industry in Japan. People work long hours. We do lots of overtime to complete a movie. It is getting normal for me to work like crazy, but I think it is a challenge in Japan.

You have majored in law. Have you ever thought about pursuing that kind of a career?

My father is a patent attorney. He suggested to me to study law, so I did. I liked social study and history. I liked memorizing. I thought law was a good choice for me and then I majored in law at the university. It was a good choice after all. I never thought of following a law career, however what I studied there still helps my movie making.

You have stated in previous interviews that the paintings of Salavador Dali were of your earlier inspirations. Could you elaborate on that? Which ones, for example?

“Inu Onna” the poison girl from “Tokyo Gore Police” has no arms nor legs but wears four Japanese swords to fight. This girl is inspired by Dali’s long legged elephant.

You have worked in 16 different departments of the production of a movie, from makeup, costume and special effects to actor, writer and director. Which one do you enjoy more and where do you find the time to study and perform all of these?

I enjoy every task at every department in making a movie, but I would say directing is my calling. I would say I have no stress working as a director. For other roles or tasks, I would feel frustration due to the gap between what I try to imagine and achieve, and what the director wants to create, and due to disagreements with the other departments.

After graduating the university, I worked at a company who creates commercials, for five years. In Japan, in order to create a commercial, you have to work as a director assistant, a producer, an assistant producer, etc, all the tasks at the same time. That’s where I learned all the tasks. I even learned budgeting and working as a producer there. At that point, I had a clear intention of learning everything about movie making and start making movies all by myself alone in 10 years, before I turn 30 years old. So I studied every task I need for a movie production during this five years. After that, I kept learning art work, camera assistance, lightning, etc.

I’ve been making independent movies with Sion Sono together for about 30 years. When Sion was 30, he decided to make a commercial film. So it was on-the-job training. It wasn’t easy but that’s how I learned movie making. I learned the business while earning money.

You have worked in low budget films as much as in high budget. What are the differences between the two and which do you prefer?

Basically, there is no difference between low-budget and big-budget movies. What I do is the same. If there are differences, they are just small ones: more time, better meals, more staff, etc. I like them both.

Why did you decide to shoot only splatter movies? What is the appeal you find in the extreme depiction of gore and violence?

Actually, I didn’t mean to shoot only splatter movies. I really didn’t realize I was making splatter movies. I’ve been involved in hundreds of splatter movies, creating blood, special effects makeup, monsters, etc in before “Tokyo Gore Police”. I wasn’t always satisfied with the requests I received, but for “Tokyo Gore Police” I could do whatever I wanted, to make it more fun for the audience. Usually the scenes with actors speaking are considered more important than those splatter scenes with blood exploding and special effects, which I had to make them in a hurry.

Besides the obvious horror elements in your movies, there is also quite a lot of humor. Do you prefer to scare your audience or to make them laugh?

I want to create a “wave” to the audience. I want to show something gross but at the same time I want to make them chuckle. I would like to show something nobody has never seen before. What I create is entertainment. I like them both, making sure the audience doesn’t get bored. I always adjust the audience’s emotion, the “wave”. I call it the margin of audience.

You use a lot of blood in your movies but it looks realistic and impressive at the same time. How do you achieve that, even in low budget films?

My movies use lots of blood. Sion demands realistic in his movies. He has been a good friend to me and we’ve been making some independent movies together. But I don’t want to make the same movies as Sion, so I go my own way consciously in my movies, showing much more blood. I love his movies and I can make it realistic for his movies. For my movie, I make blood more showy. As a professional I should manage to create both ways.

I don’t ponder too much but I use different effects depending on the scene. When more impact required, I use a pump for getting water from a well or a balloon for creating blood splattering.

You have repeatedly cooperated with Sion Sono and Tak Sakaguchi. Could you tell us about these experiences?

Sion and I have been friends for about 30 years. He has been helping my movies. Tak has been an action actor and a director for action movies and he has been helping me too. Sion also asks Tak for help, therefore these days we three work together.

You prefer female main roles in your movies. Why is that and is there an actress that you would like to cooperate with in the future? Is Eihi Shiina your favourite actress to cooperate with?

I always had an image that women are strong. I’ve been using women in leading roles. Recently, I started using men. I heard some people want to see some men. This time I use an older man. I don’t always have to use women as a leading role but I prefer a female leading role because I think women can express their strength better.

I don’t plan casting for a leading role in advance. The actresses have ups and downs. Some actresses have a long shining career and others don’t. So timing is important. I don’t choose one actress all the time.

Not always as a leading role but yes, I do want to work with Eihi Shiina again. I like her but I don’t plan to choose an actress for a leading role in advance. Shiina has ups and downs. She works well on an actual stage but has a strong character. We have to offer her a role only for her, a character that nobody else can do, otherwise she may be lost.

Is casting actors-actresses for these films difficult, considering their extreme nature?

I don’t have a hard time. I work with new people but since my movie style is very unique, there could be some confusion. So I need to have some familiar faces who know my movies well to pass on some tips for my movies to new actors. So that new actors don’t get drown by the blood.

Since “Tokyo Gore Police” you have achieved fame overseas. What are your feelings towards this and what are the differences between Japanese and western audience?

I’m happy that more people enjoy “Tokyo Gore Police”. The Japanese audience is very quiet. Too quiet. When overseas, I can feel their reaction right away. I can see what makes them laugh or be surprised.

The Japanese audience let me know what was funny a bit later, sometimes after two days later. In this movie, “Kodoku Meatball Machine”, the leading character is a bald old man. Everyone in the movie calls him “bald head”. The Japanese audience laughs In Japan “bald head” is a name-calling but not in overseas. Outside of Japan, it is not something people laugh. “Bald” is considered as a symbol of man and not something people laugh about or pick on.

What is the situation with the extreme movies (splatter etc) scene in Japan at the moment?

In Japan, the pure love movies with teenagers are more popular. Not much splatter movies are being made. Or the yakuza movies are also popular these days. We don’t have a big audience for splatter movies.

Why did you decide to shoot a sequel of Meatball Machine? What was the inspiration behind the script? In general, what inspires you to make movies and how do you work in the scripts?

Technically speaking, the very first Meatball Machine was an 8mm movie version as a totally independent movie. And we reworked the first Meatball Machine from the 8mm version, therefore my “Kodoku Meatball Machine” this time is my own creation with the same concept from the original Meatball Machine. So it’s not the sequel.

Three years ago, I made an action movie called “Torakage”, a ninja movie. It was a hit. The producer from King Record wanted me to make a movie. I wanted to create “Torakage 2” but he suggested a new Meatball Machine. I wanted to create another Meatball Machine movie so I happily accepted. The producer only requested two things for “Kodoku Meatball Machine”; one request is to use a monster Nekurobogu and the other is to include a love story. That’s all. Other than that, I could do whatever I wanted.

For two years I was only involved in making “Shin Gozilla”, no other movie and we lost money. I was shocked to learn that you couldn’t make money even with this popular movie. The theme came from there; working hard forever, but not making money. So the Russian folksong was inspired from this difficult experience. The letters appeared in the bottle was inspired by Twitter. There was such a flame in my Twitter. Every day I got about 2,000 nasty messages from animation fans, therefore I also included the flame to the theme of the movie. All my negative experiences became the theme of this movie.

The theme of “Torakage” is family. At the beginning I often used this theme. It is changing now. The way I work is like this; I write a plot in a few pages and then I ponder what I want to say in the movie for a week.

Why did you choose family as the theme?

Maybe it comes from my problems with my own family.

What is your opinion of the movie industry in your country at the moment?

Money-making movies are very limited with sloppy love story movies, or someone dying from rare sickness now in Japan. I don’t think they would be popular outside of Japan. There is not much budget for splatter movies in Japan.

Which are your favorite filmmakers/movies?

David Lynch and Alejandro Jodorowsky are my favorite movie directors. I watched many horror and splatter movies such as Romero’s. But that’s not what I aim at. I watch them to learn technique, not to enjoy.

What are your plans for the future?

I plan to go to South Korea and I have two movies to direct. One is about an embalmer.the other one is still confidential. I want to continue to make movies but I also want to teach young people who are in twenties. I’m 50 and I’m not that young.

 

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18 of Yoshihiro Nishimura’s 33 films

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Anatomia Extinction (1995)
‘The rather oddly titled Anatomia Extinction is an avant-garde horror/sci-fi hybrid by the director/special effects artist Yoshihiro Nishimura. A precursor to Tokyo Gore Police (2008), it is a bizarre trip of giallo like beauty and gross out body horror, all tied in a neat little 54-minute package. The hectic editing style, together half-man/half-machine type body horror, are noticeably reminiscent of Tetsuo, the Iron Man and it’s fairly obvious that Tsukamoto’s 1989 fantasy of flesh and metal has been at least partly the inspiration behind the film. Anatomia Extinction is a strange watch to say the least and definitely not for everyone. Fans of Tokyo Gore Police might enjoy seeing where the inspiration for the said film came from and equally fans of Tsukamoto or Cronenberg might enjoy the macabre little world Nishimura has created. If you’re not a fan of the avant-garde or prefer your films with dialogue, you need not bother.’ — Horror News

Watch the film here

 

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Speakerman: The Boo (2004)
‘The story of an odd creature called the Speakerman, who served duty in a small mining village by sounding the siren/megaphone that is his head to tell the workers when it was time for lunch and to alert people in case of a mining accident. When the mine closes, Speakerman ends up lonely and in search of new friends and meaning in his life.’ — letterboxd


Trailer

 

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Meatball Machine: Reject of Death (2007)
‘In 2005 the directors Yudai Yamaguchi and Jun’ichi Yamamoto came together create a film called Meatball Machine. Based on Yamamoto’s earlier work from 1999, it’s an aggressive cyberpunk, sci-fi/horror-hybrid romp about alien parasites turning their hosts unto slave “Necroborgs”. It was a breakthrough film for the special effect’s wizard Yoshihiro Nishimura, who would later on go on to direct such films as The Machine Girl and Tokyo Gore Police, as well as a bizarre ten-minute sequel to Meatball Machine titled Meatball Machine: Reject of Death. You can pretty much summarise the whole ten minutes in one sentence: That escalated quickly. It’s complete cyberpunk madness from start to finish, with very little plot and dizzyingly fast action. Basically, the film consists of two necroborgs attacking people around them in the weirdest weapons imaginable. The AV idol Asami is a good sport as usual and plays her outlandish role brilliantly, although when it comes to acting, it hard to assess anyone’s performances as the whole experience is so chaotic that it leaves very little room for any deeper analysis.’ — Horror News


Why You Should Watch: Meatball Machine

Watch the film here

 

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Tokyo Gore Police (2008)
‘“Tokyo Gore Police” is quite possibly the goriest, craziest, most eye-blowing, chunk-spewing, head-exploding sci-fi movie of all time. It takes place in a futuristic Tokyo, where the police have been privatized into a paramilitary force that uses extreme violence – even public rub-outs – to maintain order. The force’s scourge is a race of “engineers,” criminally insane gangsters who can turn wounds into weapons (in one case, a penis gun). But the mutants are no match for Ruka, a no-nonsense cop who carries a samurai sword and dresses more like a schoolgirl than a crime fighter. The hunt for baddies is personal to Ruka because her father, also a cop, was assassinated. Enough blood is unleashed to fill Tokyo Bay. Garishly filmed over-the-top mayhem is nonstop and includes S&M-attired quadriplegics walking on swords.’ — V.A. Musetto


Trailer

 

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Vampire Girl vs Frankenstein Girl (2009)
‘While “Tokyo Gore” contains trenchant political satire, “Vampire Girl” only dabbles in silly lampoons of Japanese youth fads with girls who take their wrist-cutting to an intercollegiate competitive level, and “ganguro” girls who make themselves up to look like golliwogs in misfired worship of African-American culture. Despite claims of a higher budget used than “Tokyo Gore Police,” production quality looks a little shoddy. HD camerawork is also sloppy in certain scenes, such as the definitive duel between Monami and Keiko atop Tokyo Tower, or the sword fight between Monami’s mother (Eihi Shiina). Visuals sometimes become monotonous, with blood spraying and blurring the frame like a garden sprinkler. Creature designs are jaw-dropping.’ — Hollywood Reporter


Trailer


Yoshihiro Nishimura and crew takes questions re: Vampire Girl Vs. Frankenstein Girl

 

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Mutant Girls Squad (2010)
‘If you think you have seen all possible mutant weapons before, it only gets better with the new ones discovered amongst this group of monsters. There are limbs that transform into swords, a claw arm, tentacles that grow from fingertips, even an anal chainsaw! Take the X-Men and add a ton of blood, crazy special effects and a demented leader and you get the MUTANT GIRLS SQUAD. They band together to get revenge, take over Japan and, ultimately, to transform it into a land for mutants only! — Calgary Film


Trailer

 

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Hell Driver (2010)
‘Nishimura, as usual, incorporates as much absurdity as possible in the film, starting with the movie’s titles that appear after almost half an hour has passed. Furthermore, the zombie boxer, the guards with the peculiar helmets, and a fighting scene involving a kind of pole dancing are only a few of the irrational scenes and notions appearing here. Apart from these, his usual tendencies are also present: constant bloodbaths, surreal humor, impressive battles and a rudimentary effort for social remark, specifically concerning drugs and racism. The technical aspect is quite impressive for a splatter. With him doing his own editing, the film retains a frantic pace, that mostly looks like a collage of his preposterous ideas than an actual movie. Shu G. Momose’s cinematography manages to follow on these crazy ideas and the 6 members of the visual effects team manage to make them into reality. Both tasks could be perceived as colossal. The 7 special make up effects artists have done a spectacular job under his supervision, as is the case with Minori Niizaki who is responsible for the costume designs.’ — Asian Movie Impulse


Trailer


Excerpt

 

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Gekijô-ban: Harapeko Yamagami-kun (2012)
‘Director: Noboru Iguchi, Yoshihiro Nishimura, Jun Shiozaki. Starring: Keisuke Horibe, Marin, Maki Mizui, Takashi Shimizu.’


Trailer

 

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Z is for Zetsumetsu (2012)
‘Twenty-six directors. Twenty-six ways to die. The ABC’s OF DEATH is perhaps the most ambitious anthology film ever conceived with productions spanning fifteen countries and featuring segments directed by over two dozen of the world’s leading talents in contemporary genre film. Inspired by children’s educational books, the motion picture is comprised of twenty-six individual chapters; each helmed by a different director assigned a letter of the alphabet. The directors were then given free reign in choosing a word to create a story involving death. Provocative, shocking, funny and ultimately confrontational, THE ABC’s OF DEATH is the definitive vision of modern horror diversity.’ — Magnet Releasing


Trailer

Watch “The Making of Z is for Zetsumetsu” here

 

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Zombie TV (2013)
‘A Monty Python-esque collection of shorts, animation, sketch comedy, instructional videos and more, ZOMBIE TV showcases the natural evolution of zombies in the 21st century, no longer a frightening menace, but rather an annoying neighbor you realize you simply have to put up with. ZOMBIE TV answers such natural questions as: in a world full of the undead, wouldn’t some of the surviving humans want to join the majority and become zombies themselves? Would becoming a zombie solve the emotional and relationship problems we all have as living, breathing human beings? Do zombies have their own idols? Would zombies worship a zombie god? Who would win in a fight: a cannibal, or a zombie? How did zombies evolve from walkers into runners? And the most burning question of all: how do zombies have sex?’ — Screen Anarchy


Trailer


A look at director Yoshihiro Nishimura’s ZOMBIE TV!

 

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The Ninja War of Torakage (2014)
‘Silliness is a superpower in The Ninja War of Torakage, Yoshihiro Nishimura’s genre-fluid adventure about a man who thought he escaped the world of warriors, only to get pulled back in. A touch of Yojimbo creeps into the story, where our hero must please two rival clan leaders in order to keep his wife and child alive, but danger and intrigue are here just as ballast for a goofy, self-mocking streak that otherwise might not hold our interest for an hour and a half. The picture’s silly spirit is admitted early on, when our hero’s plight is set up: Torakage (Takumi Saito), a retired ninja who now lives a peasant’s peaceful life, is forced by the vicious Gensai (Eihi Shiina) to go steal scrolls that will lead her to ancient treasure. He is brusquely interrupted by an on-screen narrator — the man, wearing Coke-bottle glasses and ruffled-collar frippery, claims to be a Portuguese scholar of ninja culture; he drops in on occasion to introduce tools of warfare and explain bits of backstory via nicely done shadow plays.’ — Hollywood Reporter


Trailer

 

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Tengoku shori kôjô (2016)
‘Tengoku shori kôjô, the first volume of VR “Dead” Theater, is a VR horror short written and directed by Yoshihiro Nishimura that was released at 124 Internet cafés across Japan on October 17, 2016.’


Trailer

 

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Tetsudon Kaiju Dream Match (2017)
Tetsudon: The Kaiju Dream Match is a wonderful salad of techniques and narrative films sometimes parodic, sometimes experimental, Japanese with a bit of spicy Mexican. With the participation of the Mexican Ulises Guzmán, the only foreigner of 17 directors among which stand out Sion Sono ( Suicide Club , Deadly Fish , Let’s play hell ), in a fabulous cameo; Yoshihiro Nishimura ( Tokyo Gore Police , Helldriver , Vampire Girl vs. Frankenstein Girl ), Kiyotaka Taguchi ( UltramanX , Ultraman Orb ), Hideki Oka ( Urutoraman Saga ,Tomica hew rescue force ) y Tomohiko Iwasaki ( Fool Japan , Tetsudon ABC ).’ — Cinando


Yellow Road trailer – Yoshihiro Nishimura-directed short


General trailer

 

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Meatball Machine Kodoku (2017)
‘Nobody knows where they came from. They parasitize in human beings, take control of them and change their bodies into hideous monsters (Necro-borg). The Necro-borg fight each other until the other dies. Where did they come from? To what end? Yuji and Kaoru, whom both have dark secrets within themselves, get caught up in the horrific battles of Necro-borg. What will their fate be?’ — Kingu Rekôdo K.K.


Trailer

 

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Welcome to Japan: Hinomaru ranchi bokkusu (2019)
‘A unique violent action film by Yoshihiro Nishimura (Meatball Machine Kodoku) about female assassins mixed with Japanese food culture.’ — Cinando


Trailer

 

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Go Home (2020)
‘In a grave at dusk, a girl whispers, “Let’s go home.” From there, a terrifying journey to the girl’s home begins.’ — IMDb


Trailer

 

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Holy Mother (2022)
‘A racist corporation is looking to expand its territories of domination and for that it needs to destroy the Yakuza mafia. It is then that a transgender woman suddenly appears willing to defend the Yakuza tradition. With her bare hands, a she rips off a man’s erect penis and sticks it onto his nose.’ — Letterboxd


Trailer

 

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Tokyo Evil Hotel (2025)
‘With Tokyo Evil Hotel, Nishimura returns to his splatter roots but cloaks the viscera in something more spectral, an unnerving meditation on urban legends and the hidden machinery of Japan’s entertainment underworld. The premise sounds almost folkloric: a cursed hotel, five suicides in a year, a ghostly figure in a wheelchair propelled by betrayal and heartbreak. But Nishimura, ever the provocateur, is less interested in quiet ghost story chills than in conjuring a fever dream. The film drags the viewer down its neon-lit corridors, where reality and nightmare blur into one another. Images arrive in waves — some baroque in their grotesquerie, others achingly poetic — before dissolving into the next eruption of slime, latex, or digital delirium.

‘What anchors this onslaught is not narrative cohesion (which Nishimura deliberately unravels) but mood, texture, and metaphor. The hotel itself becomes a nexus of exploitation, its walls absorbing the residue of despair from a culture that glamorises seduction while feeding on vulnerability. Nishimura weaponises the tropes of J-horror — the wrathful woman, the haunted threshold, the cyclical nature of trauma — and splices them into his splatter lineage. If Ring and Ju-On explored the horror of technological contamination, Tokyo Evil Hotel maps the horror of commodified intimacy, where every smile has a price and every fantasy its corroded underbelly.’ — Surgeons of Horror


Trailer

 

 

*

p.s. Hey. ** jay, Hey. The title only kind of tells you what to expect. Enjoy your tour of the locations. When Zac and I were in Japan last we went to the island where ‘Princess Mononoke’ is set and did the same thing. Naturally the realities were somewhat less magical, but still. Fine weekend, sir. ** Adem Berbic, Oh, I’m almost eternally optimistic as you know. Things seem far more achievable to me when they’re bright. The Russian Dolls reference makes sense, yes. Maybe I just start with the littlest one first. I think LSD basically invented me. It made me realise everything’s a prism. Mushrooms just made everything look sparklier and cosier. Well, ‘Babyfucker’ is certainly Beckettian. But it uses that layout differently? ** Laura, Ah, score! Don’t know if he wrote that other book. I’m not even sure if his others books have made it into English. I’m following you on Instagram now that I know who you are. Pretty intense eyes, yes. I’ll study them the next time I’m dwelling over there. Btw, since you asked over there, that person in the ‘RT’ promo photo is a boy. His name’s Syd. ** ⋆˚꩜。darbbzz⋆˚꩜。, Hey! Understood and no problem about the screening, but the film may still show in Charlotte itself at some point. We’re waiting to hear if that’ll happen. I’ll give you as much advance notice as I can if it does. American Spirits are too strong for me. My lungs are hungry but they’re wusses. When you describe those people at your work, I immediately feel suspicious if that means anything. But I guess it’s better that they like you even in their deluded ways? I don’t know. It’s a question. I’m quite tall and I tend to romanticise being short. Except at music gigs. But even if you can’t see well, at least you don’t feel immense hostility radiating at your back like I usually do. ** _Black_Acrylic, That Behind Bars channel does look kind of fun. And informative. Hard to beat that combination. Thanks. I’ll give it the old college try. ** Steve, Ugh, pay for play. I don’t know if you’ve ever submitted to film festivals, but there are so, so many that are just money making scams. I’d love to have a conversation with Picton. Maybe they’ll play here and I can find him and ask him out for a coffee. Yes, there’s a Gig post next week. This weekend: I’m going to try to finish the new film script once and for all. The new Lucretia Martel film/documentary is playing down the street, and I want to see that. I want to go to my favorite bookstore (After8) and see if they have new Ken Jacobs book in stock. Did you see ‘Arcana’? ** julian, It’s not not about fucking babies but it’s not about fucking babies in the normal way. If that makes sense. In theory, your discovered description of that Jesus film makes it sound less interesting to me, but that might just speak ill of my inclinations. Although an actor named Gustav “Tava” Von Will is a bit of a lure. Well, I did say the sigil aspect of ‘Guide’ hasn’t worked, so maybe sigils are a little uptight about their subject matter? It’s worth the try. I’m rooting for you. Don’t let my seeming failure stop you, for goodness sake. Will do on the ‘Chris’ pic. ** Carsten, All hail your returning to normalcy. I guess I think organised religion will only be in the dust when the believers come to their senses. And there’s no sign that they ever will. People still call Elvis Presley the King, for Christ’s sake. I laid my weekend out to Steve just above, or my intentional weekend at least. Strength be yours. ** fish, Totally understood about your disinclination. These days I’d much rather go to an amusement park. I just looked up Justine Kurland, and, no, I don’t know that work. It looks really interesting. Huh. I might try putting together a galerie post of her stuff. Thank you for the tip. Have the best weekend you can. ** HaRpEr //, Is that book completely out of print now? I guess it would be. Wow, ‘The Tunnel’, that’s an undertaking. I don’t think I ever got all of the way through it, but I rarely get all the way through books, especially when they’re giant. But I remember it being pretty extraordinary for reasons I can’t precisely recall. Yeah, I guess Rimbaud gets exclamatory, but that doesn’t bother me at all from him. Maybe it’s his youth. I sort of inherently think people that age have a lot to teach me. Joy Williams is god. Lutz too. Does it? I mean that MNBB song? Wow, I’ll go listen more carefully. Wow. ** sal, Hi, sal, welcome! Yes, I do remember that Dennis Kelly book. Huh, I haven’t thought about it in ages. I’m pretty sure I read it, but I don’t have a clear memory of it. I remember it was kind of well known or talked about at the time. Gay Sunshine was one of the most prominent gay publishers back then. Sure, I’d love a scan, thank you! How can I get it? Are you on Instagram by chance? Thanks a lot. How are you? What’s up? ** Nicholas., You’re joining the self-styled clear headed set? Welcome. For your birthday? A hot fudge banana spilt. Wow, that’s a lucid and intense near death drug situation you had there. I only just almost went permanently insane on drugs, but death didn’t want me. I have read ‘City of Night’ and I’m pretty sure I read ‘Numbers’. I was not a fan. But I did read them. ** Okay. How about you guys spend the local portion of your weekend subjecting yourselves to the output of the wacky, gory filmmaker/sfx maestro/makeup artist Yoshihiro Nishimura? See you on Monday.

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