You say you’re not a Method actress, you’re a camp actress. Does that devalue what you do?
Mary Woronov: With Method, you become the person you’re acting, even if it could be a wet piece of spinach or a chair. With camp, you have no interest in trying to trick the audience. You comment on [your character], like a drag queen whose actions comment on women, how they’re too fey or too predatory.
You were in a Charlie’s Angels episode playing a butch cop who drags the Angels off to women’s prison.
MW: I’m not sure why, but it’s my most-watched clip online. That’s one of the reasons I got work in Hollywood: They weren’t supposed to have a lesbian in the script, but if they hired me, they would get one. I was good at gender slipping.
What’s your sexuality?
MW: Totally fixated on men. They attract me because they’re so different from me, so I guess I’m hetero. I was constantly hounded by men. The only place where I was talked to as a real person, where I was told I was good at my career, was with the homosexuals. They told me I was great and didn’t want to pound me. Warhol, the Theater of the Ridiculous. I like male homosexuals very much. I like female homosexuals, too, because now they’re so pretty. It’s bizarre. When I was young, they were always fat and ugly, but now they’re gorgeous.
Swimming Underground, your Warhol-family memoir, is pretty dark. Everyone was high on speed, paranoid, playing mind games with each other. At one point you’re all trying to get rid of the body of this sad girl, Ann, who seems to OD and die while being shot up.
MW: We wanted to get rid of her and put her down a mail slot. What’s dark about it? It’s funny. She wasn’t even dead. We were nice to her, we were going to mail her out. You have to understand how high we were. It was pharmaceutical amphetamine, a white powder we’d snort — or shoot. My memories of that time are incredible. The ludicrousness, the insanity that went on, has never been topped.
Your mother sued Warhol over Chelsea Girls, because he didn’t get you to sign a release. In his own diaries, he wrote that he was always uncomfortable running into you because you were such a “creep” about the money. What are your feelings about him these days?
MW: I like him. I think he was very brave, because he was certainly pro-homosexual when everybody was against it. If you saw [Robert] Rauschenberg, he’d pretend to be straight for his clients. Warhol never did. He was a complete fag to everybody. The things I don’t like about him was he was just in love with fame. If somebody famous were in the room, he’d just go to pieces. It was kind of gross.
But are you angry that he said you were a “creep” about the money?
MW: I was a creep. I sued him. I obviously had left him, I hurt him. Also, Edie left him. He was viciously hurt by that. I was rude. So he didn’t know what to say to me, because I didn’t say, “Andy, it’s okay,” and talk to him like a human being.
It seems like the Factory was presided over by some very mean gay men and drag queens.
MW: I was so angry during my life at that time, it was the only place I felt good. I was furious about the fact that I was going to be some stinky girl who could do absolutely nothing but get married and lick some dick for the rest of her life. I left Cornell to be with Warhol because he was more artistic. What power did I have? Women still don’t have that much power. It’s a man’s world. That’s what pissed me off, and it still does. I had to be nice, and I wanted to be powerful.
Do you have any power in your life now?
MW: Yeah, I’m a good painter. I’m a good writer, though I don’t write enough. In my acting career, I’ve realized it hasn’t been a total flop. I also managed to realize that I didn’t want to be married [after being married twice] and have kids, so I feel good about that.
Do you see any fierce younger women around?
MW: Yeah, what’s-her-name. Bouncy-Bouncy.
MW: Yeah. She’s mechanical. She’s bizarre. She’s fascinating. I don’t actually like her voice. I would never listen to her. I went from punk rock to heavy metal and straight into Wagner. I only do opera now. –– from Vulture
Mary Woronov: The Website
Mary Woronov @ IMDb
‘Cult-film staple Mary Woronov on Andy Warhol, Roger Corman, and being typecast’
Mary Woronov @ Facebook
Mary Woronov’s books
THE UNTITLED MARY WORONOV DOCUMENTARY
Articles by Mary Woronov @ Artillery Magazine
‘MISS ON SCENE: Mary Woronov’
Gary Indiana interviews Mary Woronov
Mary Woronov’s feet @ wikiFeet
Billy Chainsaw interviews Mary Woronov
THE MARY WORONOV CHANNEL on Vimeo
2 short stories by Mary Woronov
Mary Woronov interviewed about her paintings
‘MARY WORONOV: A NEW WOMAN’
‘WRITINGS ON THE WARHOL: AN INTERVIEW WITH MARY WORONOV’
‘Mary Woronov; the real siren’
‘Mary Woronov Vintage Rule 5 (NSFW)’
Mary Woronov @ Horror Society
13 Most Beautiful… Songs for Andy Warhol’s Screen Test – 7 Mary Woronov
Mary Woronov reading @ The Standard Hotel
Warhol Superstars: The Velvet Underground
The Girls of Rock & Roll High School Chiller Theatre April 26th, 2014
Andy Warhol, Billy Name, Robert Heide, Mary Woronov, Gerard Malanga
Excerpt: Swimming Underground: My Years In The Warhol Factory
I first met Celinas at the Factory. She had come with Brandy Alexander. And if she was shy, Brandy was her opposite, the obvious overdone showgirl-type of queenstripper tits, bimbo hair, Louise Nevelson eyelashes, and a mouth brought to you by Chevrolet, a red chrome grill motorized on continuous yap. Desperate was too exotic a description for her, let’s just say she was bugging everybody that day, waving her airbrushed 8x10s dangerously close to Warhol’s nose. The polite light went out, and Brandy became free bait; the tinfoil walls of the Factory flickered like silver water; the smaller surface fishvisitors and squares, scattered and knotted in excitement; and from out of the aluminum depths glided the larger fishpredators, attracted by the commotion. Billy Name, one of the Great Whites, appeared and disappeared. Often his presence signaled the difference between light play and heavy hard-core shit.
Gerard was the first to attack. Something about where did she put it? Come on, show us. I listened to Brandy’s little squeals, first the giddy surge of finally getting the attention she had been bleating for, then the sickening realization that it was too much, it was going to hurt. Gerard was relentless, goading, taunting, and jabbing his prey. “Come on, Brandy, we know you tuck. Tuck it up. We wanna see. Where does your dick go, huh, Brandy, huh?” Shouts. Cries. Drag queens are unpredictable to wrestle, sometimes a good right hook can be sleeping under all that make-up. Most of us were only watching, hopeful that Gerard might get slugged in the face, but I was watching Celinas. She stood like Anne Frank in a Gestapo lineup. Good choice. I liked it.
I didn’t know what she wanted, or why she had come with Brandy, but I did know the last thing she ever expected to get was me. I slid in close to her, mesmerized by the panicked rabbit jumping up and down in her jugular. Maybe you should sit down, here on this silver couch which, by the way, is just as dirty as the gutter. When she sat, she crossed her hands and ankles perfectly. Yes, yes, everything was in the classroom. We chatted, bonded, as Brandy flopped around on the silver concrete floor with the silver hook still in her bloody mouth. Both of us were excited, and Celinas tried to climb into her purse, which was filled with dirty broken make-up, the true sign of a queen. I was thrilled she had let me look, even slip my hand into it for a moment. I let her huddle near me, but when she tried to clutch my hand I had to recoil. I hated being touched by anything in the human skin package.
Once outside she forgot about being angry. The pine trees moved back and forth, soft green windshield wipers across the glass blue sky. Back and forth, just the motion made her happy as she trailed behind Luke and the others through the tall grass. Five guys had come over to walk off Luke’s property boundaries. Walking the land they called it, the men staring at the ground muttering, “Yep.” “Looks good.” “Yeah.” All meaningless back-patting men-talk, with her tailing along behind staring at the tree tops, their needles lost in the endless material of sky.
Luke turned to watch Sandra drifting behind with her head in the clouds. There wasn’t any reason to lower their voices. They could be dragging bags of heroin as big as manure from one car to another and she wouldn’t notice. For sure, someone was giving the cops information, but the fact that these thick-headed Idaho rednecks had dared suggest that it might be Sandra just because she was a new face was chewing up his nerves. “If you don’t fuckin’ drop it, I’ll drive back to L.A. without the deal, right now.” No, no, they all backed down. Who were they kidding? When people want their dope, it doesn’t matter what anybody thinks.
Sandra was totally oblivious to the fact that the blue nylon flight bag was now sitting in someone else’s truck. But she did notice that the same dog-faced boy was with them, and when she looked at his back, a shadow crept over her heart. Still she was determined to feel sorry for him no matter what Luke said. Weird… she heard a buzzing noise.
The buzzing was slightly louder than all the insects, like little seeds inside the empty gourd of an Indian rattle, and to her city mind it had to be mechanical. A smoke alarm?
She had set one off in a Holiday Inn once just by smoking in bed. This time she was determined to ignore it, unlike the last time when she had jumped out of bed like a bad girl. She had just made love to a boy she barely knew. She thought it was okay, but maybe she had overlooked something, maybe he was too ugly, or had herpes, or maybe it was some kind of quiz she had failed, or her mother just couldn’t stand it any more and hit the buzzer. She smiled remembering how frightened she was, but now it didn’t even bother her that someone had nailed a smoke detector to one of the trees. Just another stupid idea. She looked up at the vast blue sky. Who cared if anyone smoked out here?
Luke’s voice slid in between the humming insects, the far away birds and the annoying alarm, slid right into her ear next to her brain, “Sandra, don’t move.” It was interesting, no matter how low he spoke she could always hear him. It was that mysterious connection she didn’t understand.
She stopped. What? Now what was she doing wrong? They were all watching her from a safe distance. The sad dog-faced boy backed away from the group and bolted for his truck at a dead run.
“Back up, baby, real slow,” Luke’s voice purred beside her like a cat sitting on her shoulder watching the empty sky for birds, “Real quiet.” So, like a dancer, she took one slow but very exaggerated step backward. The smoke alarm still buzzed away. “Now go back again, SLOWLY,” he said quietly.
She almost felt like doing the opposite of what he was saying. Was he was showing off? Some kind of macho display for the others? But again she backed up one step, slowly, as the dog-faced boy ran back from his truck throwing himself down at Luke’s feet. In his hands was the longest gun she had ever seen, complete with a telescopic lens and other gadgets she couldn’t identify. He raised the gun into position, pointing at what she thought must be her knee caps. Unable to move, her eyes were drawn to the little black mouth of the gun.
‘Like most people who end up in L.A., I am a transplant. In 1973 I moved here for what seemed like sound professional reasons: having received no encouragement in New York for either my painting or my first novel, I figured all I was good for was acting, so I came to Hollywood. L.A. scared me at first. It was so full of blank space, and my response was to fill it up by painting colorful and increasingly nightmarish narratives.
‘In New York I never used color, but here I couldn’t use enough, and although I was supposed to be acting, all I did was paint. When I met other girls we would compare notes while fixing our hair or sharing a joint in restaurant rest rooms: no one seemed to have a clear course, and the air was packed with dreams trying to find bodies to crawl into. A world of art
‘Of course we blamed L.A. for our confusion. She wasn’t what she pretended to be: for all her promise of paradise her real weather was fire, and the glitter on her streets just crushed glass from some car wreck. Yet Los Angeles is the only muse I have ever taken seriously, and she is the subject of my art. Although I do not paint from real life, using actual models, still the paintings emerged like an eerie hologram of the city’s subconscious, vaguely familiar but with dream-like exaggerations.’ — Mary Woronov
22 of Mary Woronov’s 83 films
Andy Warhol Chelsea Girls (1966)
‘The Chelsea Girls was Andy Warhol’s his first major commercial success and catapulted many of the participants into superstardom – Ondine, Nico, International Velvet (Susan Bottomly), Brigid Berlin and Mary Woronov. When Mary Woronov’s mother saw the film she sued Warhol because her daughter had not signed a release. Warhol eventually paid all the actors $1,000.00 each to sign a release. The Chelsea Girls is made up of various scenes shot at the Chelsea Hotel, the Factory and at various apartments including the Velvet Underground’s apartment on West 3rd Street in the Village. Nico, Brigid Berlin and Susan Bottomly (International Velvet) lived at the Chelsea Hotel at the time the film was made. Brigid said that she spent about one night a week in her own room and the rest of the time visiting other people in other rooms. At the premiere of the film at Jonas Mekas’ Cinematheque, the film sequences were listed on the program accompanied by fake room numbers at the Chelsea Hotel. These had to be removed, however, when the Chelsea Hotel threatened legal action. At least two of the segments listed in the original program for The Chelsea Girls were deleted from the film – The Afternoon and The Closet. The Closet starred Nico and Randy Bourscheidt and is now shown as a separate film. The Afternoon starred Edie Sedgwick. According to Paul Morrissey, Edie later asked for her footage to be taken out of The Chelsea Girls, saying that she had signed a contract with Bob Dylan’s manager, Albert Grossman.’ — warholstars.org
the entire film
Theodore Gershuny Silent Night, Bloody Night (1972)
‘Silent Night, Bloody Night is actually an engaging, cheap slasher that proved to be slightly ahead of its time. No one goes in expecting too much from public domain cheapies, but often enough you’ll get one that surprises you, and that’s precisely what happens here. The similarities to Black Christmas are definitely there, from the snarly phone calls, Christmas setting, POV shots to general slasher mayhem. The two would actually make quite the double feature of season’s slayings. Just when you think things can’t get any better, you see Mr. Cameo himself, John Carradine’s name in the credits and nostalgic cheapie fans can’t help but grin. From start to finish, the flick grasps the viewer by the throat and doesn’t let go. At one point during the climax, things get a little far fetched, but that is something easily overlooked in a film of this nature. The strongest element the film has going for it is the fact that it was made before the slasher boom hit and therefore doesn’t exist entirely within the rules that became standard. Revenge is a key motive in the film, but unlike Prom Night and countless other slashers, the theme of vengeance isn’t used as merely a motive to put the knife in a killer’s hand to cut up cuties. Instead, the mystery unravels with the characters and viewer both not knowing what comes next, adding extra oomph to the occasional severed hand and a sensational axe massacre by the black-gloved madman.’ — Oh, the Horror
the entire film
Theodore Gershuny Sugar Cookies (1973)
‘Back in the world of pre-Troma Troma, we have this intriguing little picture which has the distinction of being the only X rated film that lost money. Upon release, the film was re-rated with an R because the sex is no more explicit than a typical soft-core porn. Sugar Cookies, although an American production from the independent Armor films, which Lloyd Kaufman worked for before starting Troma, resembles a stylish Euro-trash picture of the era. Even though there is a lot of sex, it’s still held together with a solid thriller plot and it’s also a blatant homage to Vertigo.’ — savagehippie
Oliver Stone Seizure (1974)
‘Seizure is a 1974 horror-thriller film. It is the directorial debut of Oliver Stone, who also co-wrote the screenplay. Horror writer Edmund Blackstone (Jonathan Frid) sees his recurring nightmare come to chilling life one weekend as one by one, his friends and family are killed by three villains: the Queen of Evil (Martine Beswick), a dwarf named Spider (Hervé Villechaize), and a giant scar-faced strongman called Jackal (Henry Judd Baker). Star Mary Woronov would later claim that one of the film’s producers was gangster Michael Thevis, who partially bankrolled the film in an attempt to launder money, as he was under investigation by the FBI.’ — collaged
Paul Bartel Death Race 2000 (1975)
‘Vintage 1975 sleazebucket production from Roger Corman’s New World Pictures, loaded with sex, violence, and general vulgarity, but orchestrated by one of the most interesting personalities then operating in the exploitation field, Paul Bartel (director of the notorious Private Parts and, later, Eating Raoul). The story, about a road race in the not-too-distant future for which the drivers are given points for running down pedestrians, becomes an elaborate and telling fantasy about our peculiar popular entertainments. Fine work carved from minimal materials. With David Carradine and a pre-Rocky Sylvester Stallone.’ — Chicago Reader
the entire film
Michael Miller Jackson County Jail (1976)
‘When advertising executive Dinah Hunter finds out that her boyfriend has been cheating on her, she leaves her promising career and Los Angeles behind and heads for New York City for a new start. But along the way she makes the mistake of picking up some hitchhikers who beat her up and steal her car. Stranded in a small western town, Dinah is thrown in jail on some false charges and under the supervision of a psychopathic guard who beats her up and rapes her. After killing her attacker, Dinah escapes with another inmate, a radical named Coley Blake, and they are chased by the sheriff’s department, through a Bicentennial parade as they head for the open road.’ — collaged
Joe Dante Hollywood Boulevard (1976)
‘Hollywood Boulevard is a ramshackled delight. Made for 60,000 dollars on a bet with Roger Corman, Hollywood Boulevard contains a variety show sense of humor, a pace that suggests a severe Benzedrine addiction and enough Stock Footage to make Ed Wood blanch (in one rather perfect moment we see footage of roller derby girls while one character delivers a voice over monologue how much she hates being a roller derby girl only to have it never mentioned again). But what it really contains and what saves it the three or four times it goes careening over the line between smutily amusing and degradingly sexist, is its sense of enthusiasm. Like the two films that Joe Dante and Allan Arkush would make directly after Hollywood Boulevard; Piranha and Rock N’ Roll High School, Hollywood Boulevard is the work of men who fully expect to never make a movie again and thus try to cram in as much as they love about them in one go.’ — Things that Don’t Suck
Allan Arkush Rock ‘n’ Roll High School (1979)
‘Roger Corman, Executive Producer of the film, was looking to produce a modern teen film similar to the ones he made in his early career during the 1960s, with the focus on current music of the time. The initial title Disco High was selected for a story idea from Allan Arkush and Joe Dante. A script was developed by Richard Whitley, Russ Dvonch, and Joseph McBride. During this time, the film went through several different title changes including Heavy Metal Kids and Girl’s Gym. Arkush directed the majority of the film, but Dante also helped when Arkush was suffering from exhaustion. Corman had originally intended to center the film around the band Cheap Trick, but due to a conflict of schedules, he was forced to find an alternative band. The Ramones were suggested by Paul Bartel, one of the actors in the film. The film was shot on the campus of the defunct Mount Carmel High School in South Central Los Angeles, that had been closed in 1976. The actual demolition of the school was used in the end of the film.’ — collaged
the entire film
Allan Arkush Heartbeeps (1981)
‘Heartbeeps is a 1981 romantic sci-fi comedy film about two robots who fall in love and decide to strike out on their own. It was directed by Allan Arkush, and starred Andy Kaufman and Bernadette Peters as the robots. The film was aimed at children & was a failed experiment: Universal Pictures gave Andy Kaufman a blank check to make this film after focus group testing indicated that children liked robots, apparently in the wake of R2-D2 and C-3PO. Reviews of the film were negative. Film website Rotten Tomatoes, which compiles reviews from a wide range of critics, gives the film a score of 0%. Kaufman felt that the movie was so bad that he personally apologized for it on Late Night with David Letterman, and as a joke promised to refund the money of everyone who paid to see it (which didn’t involve many people). Letterman’s response was that if Kaufman wanted to issue such refunds, Kaufman had “better have change for a 20 (dollar bill)”.’ — collaged
Paul Bartel Eating Raoul (1982)
‘A sleeper hit of the early 1980s, Eating Raoul is a bawdy, gleefully amoral tale of conspicuous consumption. Warhol superstar Mary Woronov and cult legend Paul Bartel (who also directed) portray a prudish married couple who feel put upon by the swingers living in their apartment building. One night, by accident, they discover a way to simultaneously rid themselves of the “perverts” down the hall and realize their dream of opening a restaurant. A mix of hilarious, anything-goes slapstick and biting satire of me-generation self-indulgence, Eating Raoul marked the end of the sexual revolution with a thwack.’ — Criterion Collection
Three Reasons: Eating Raoul
Thom Eberhardt Night of the Comet (1984)
‘Night of the Comet is a good-natured, end-of- the-world B-movie, written and directed by Thom Eberhardt, a new film maker whose sense of humor augments rather than upstages the mechanics of the melodrama. The film’s premise: All of the world’s scientists have mysteriously died 12 months before the movie begins. At least that’s the only way to explain why no one has predicted that the comet, hurtling toward earth during a jolly Christmas season, is going to come a lot closer than all of the comet-party revelers around the country suspect. The film’s initial special effects aren’t great, but some of the dialogue is funny and Mr. Eberhardt has an effectively comic touch. All of the performers are good, especially Catherine Mary Stewart and Kelli Maroney, who play Reggie and Sam; Robert Beltran, as the young man who fancies Reggie, and Mary Woronov – the classically beautiful comedienne who co-starred with Mr. Beltran in Paul Bartel’s Eating Raoul – as one of the Government people who, heroically, refuse to steal someone else’s blood just to stay alive a little longer.’ — Vincent Canby, NY Times
the entire film
Rick Sloane Blood Theater (1984)
‘Blood Theater (a.k.a. Movie House Massacre) is an Independent Film Slasher/Horror Comedy. It was the first feature film by director Rick Sloane. The film includes many bizarre movie theater related deaths, such as being fried inside a popcorn machine, stabbed in the ticket booth, electrocuted by a film projector, decapitated by a projection booth partition, stabbed while a movie is playing on screen, smoke inhalation from burning film and a telephone receiver which breaks apart while a dying girl screams hysterically into it. The majority of the movie was shot at the historic Beverly Warner Theater in Beverly Hills, which was also a location in the film Xanadu. It was later demolished and the site became a bank building.’ — collaged
Ted Nicolaou TerrorVision (1986)
‘TerrorVision was not a box office hit when it opened on February 14, 1986. According to Box Office Mojo, it lasted a mere four days in theaters, playing on 256 screens and earning just $320,256. It seemed ubiquitous on home video, though. I used to belong to about half a dozen different video stores, and I recall seeing the box – with a giant eye inside a satellite dish – in several of them. Home video is actually the preferred format for a picture like this. It’s not really theater quality, but it is perfect for watching and mocking with friends in the privacy of your own home. As for Producer Charles Band …well, he’s still out there doing his thing. Recent output bearing his name includes the Evil Bong movies (about, you know, a killer pot-smoking device), and the unforgettable Zombies vs. Strippers. The ’80s were his heyday, though. Band and his stable of collaborators embraced the “make it cheap” ethic. They also savored exploitation elements. I suspect that, viewed in its day, TerrorVision might have just seemed stupid. Viewed today, it’s still stupid, but at least it’s stupid in a nostalgic-for-’80s-cheese way.’ — Aisle Seat
the entire film
Bob Rafelson Black Widow (1987)
‘For all its faults, Black Widow is Rafelson’s comeback after a six-year hiatus, and it’s good to see the director of Five Easy Pieces in the saddle again. For the joys of Black Widow are the joys of a film well made — the cinematography of Conrad Hall, the production design of Gene Callahan, and a fabulous cast that includes Sami Frey, Dennis Hopper, Nicol Williamson, Mary Woronov, Diane Ladd and a cameo by playwright David Mamet (as a poker player). And something more than that. The essence of film noir is mordant humor — remember, for example, that the greatest of the film noir narrations, in Sunset Boulevard, was spoken by a dead man. What makes Black Widow special is the fun Rafelson has with it. All the different ways of dying — from empty scuba tanks to a penicillin allergy to something called Ondine’s curse — become not just plot points but a tapestry of black comedy. After so many films in which a body builder who works as a mud wrestler turns out to be a CIA agent trying to suppress rock music in a small town, it’s pleasantly shocking to see an active intelligence working in the movies.’ — Washington Post
Bruce & Norman Yonemoto Kappa (1987)
‘Kappa is a boldly provocative and original work. Deconstructing the myth of Oedipus within the framework of an ancient Japanese folk story, the Yonemotos craft a highly charged discourse of loss and desire. Quoting from Bunuel, Freud, pop media and art, they place the symbology of Western psychosexual analytical theory into a cross-cultural context, juxtaposing the Oedipal and Kappa myths in a delirious collusion of form and content. The Kappa, a malevolent Japanese water imp, is played with eerie intensity by artist Mike Kelley; actress Mary Woronov plays Jocasta as a vamp from a Hollywood exploitation film. Steeped in perversions and violent longings, both the Kappa and Oedipus legends are presented in highly stylized, purposefully “degraded” forms, reflecting their media-exploitative cultural contexts. In this ironic yet oddly poignant essay of psychosexual compulsion and catharsis, the Yonemotos demonstrate that even in debased forms, cultural archetypes hold the power to move and manipulate.’ — Electronic Arts Intermix
Paul Bartel Scenes from the Class Struggle in Beverly Hills (1989)
‘The movie, an original screenplay by Bruce Wagner, tells the story of two affluent Beverly Hills wives (Bisset and Mary Woronov), who live side by side and share many things, including friends and perhaps lovers. Bisset’s husband, Sidney (Paul Mazursky), has died in kinky circumstances shortly before the movie opens, but his ghost visits her from time to time, still bitter. Woronov is in the middle of a disintegrating marriage with a pipsqueak (Wallace Shawn), and both women become the subject of an interesting bet by their house servants (Ray Sharkey and Robert Beltran): They wager $5,000 on who can seduce the other’s employer first. No real attempt has been made to create consistent characters and then allow them to talk as they really might. Scenes from the Class Struggle, etc., is an assortment of put-downs, one-liners and bitchy insults, assigned almost at random to the movie’s characters.’ — Roger Ebert
Barry Shils Motorama (1991)
‘Motorama is an American road movie released in 1991. It is a surrealistic film about a ten-year-old runaway boy (played by Jordan Christopher Michael) on a road trip for the purpose of collecting game pieces (cards) from the fictional “Chimera” gas stations, in order to spell out the word M-O-T-O-R-A-M-A. By doing so he will supposedly win the grand prize of $500 million. et’s start from this point: This is not a movie intended for the common audience. Utterly bizarre, somehow incomprehensible, totally unpredictable, it just keep you stoned watching at the screen trying to figure out what will happen next. If that by itself doesn’t make you agree it is an excellent movie, then go back to your “family” movies and forget about Motorama. It has material to be considered a cult movie, it can be placed in the same category with movies that win awards in Cannes or other intellectual film festivals, but, sadly, Hollywood already let if fall in oblivion, simply because it is not commercial.’ — collaged
Gregg Araki The Living End (1992)
‘Janet Maslin of The New York Times found The Living End to be “a candid, freewheeling road movie” with “the power of honesty and originality, as well as the weight of legitimate frustration. Miraculously, it also has a buoyant, mischievous spirit that transcends any hint of gloom.” She praised Araki for his solid grasp on his lead characters’ plight and for not trivializing it or inventing an easy ending. Conversely, Rita Kempley for The Washington Post called the film pretentious and Araki a “cinematic poseur” along the lines of Jean-Luc Godard and Andy Warhol. The Living End, she concluded, “is mostly annoying”. Rolling Stone’s Peter Travers found The Living End a “savagely funny, sexy and grieving cry” made more heart-rending by “Hollywood’s gutless fear of AIDS movies”. In a letter (09/25/92) to playwright Robert Patrick, Quentin Crisp called the film “dreadful.”‘ — collaged
Rob Zombie The Devil’s Rejects (2005)
‘Zombie’s glorification of the feral Firefly family’s murderous cross-country rampage is undermined by a myopic, adolescent amorality: he sees them as symbols of a rebellious, individualist American spirit. It doesn’t help that the brutalising redneck trio – clown-faced pater familias Captain Spaulding, son Otis and daughter Baby – are played by bad actors: Sid Haig, Bill Moseley and Zombie’s wife, Sheri Moon. All three are eclipsed by veteran genre favourites Geoffrey Lewis, Ken Foree and William Forsythe, the last of whom plays a sheriff unhinged by his lust for Old Testament-style vengeance. This is the kind of unedifying spectacle likely to appeal to brain-dead sickos who think Charles Manson was a misunderstood messiah, rather than a degenerate, manipulative psychopath.’ — Time Out London
Ti West The House of the Devil (2009)
‘West plants here for a bit allowing the tension to build and then slowly simmer. As Samantha begins exploring the house we gain an ominous feeling of dread. We watch knowing all along something is going to happen. Even when Samantha pops on her headphones and playfully dances around to The Fixx’s “One Thing Leads to Another” (an amusingly appropriate title) we still are waiting for something terrible to occur. That’s something the good horror pictures of the 70s and 80s did well.’ — Keith Garlington
Robert Feinberg Heaven Wants Out (1970/2009)
‘Finishing Heaven is basically a documentary about finishing the 1970 film Heaven or Heaven Wants Out as it become known when it was brought out in 2009. Ruby Lynn Reyner is a main character in both films. Heaven Wants Out (1970) also includes appearances by Ondine, Mary Woronov, Holly Woodlawn, Roger Jacoby (Ondine’s real-life boyfriend), Holly Woodlawn, Tinkerbell and Francesco Scavullo.’ — warholstars.org
Kevin O’Neill Attack of the 50 Foot Cheerleader (2011)
‘Cheerleader Cassie Stratford downs an experimental drug that’s supposed to enhance her looks and athletic abilities. But instead, it makes her grow into a 50-foot giant!’ — Shout Factory
p.s. Hey. Weekly greetings from the ultra-busyness that I’m currently referring to as my life. All is generally well, although there’s still a ton to do before the shoot and barely enough time to get there, but we’re barreling in that direction. Let’s see … We’re headlong into daily rehearsals, mostly at a gallery space here called O-Town. They’re going great. We still don’t have the really small roles cast, which is getting nerve-racking, but we’ll get there. We shoot a scene on Sunday — a relatively simple scene in front of a ‘high school’ — that we’re filming at Cal Arts. Then the shooting proper will still start on the 20th out in Yucca Valley. We still don’t have a hair/makeup person or a caterer to feed everyone and not all of the smaller locations, so those are the imperatives for this week. We spent all day yesterday doing tech tests at the house location with the DP, gaffer, and sound crew to sort out the logistics. And a lot of other stuff that I’m forgetting and isn’t so interesting to relay. I’m running on fumes, as they say, so please excuse any blah in my p.s. if you can and don’t mind. ** David Ehrenstein, Hi. Tango again? You’re into it, man. ** Dominik, Hi!!!! The girl playing the daughter is amazing. She’s wacky and super smart. She’s 12 years old, and she’s already writing and directing little movies. I think she’ll be really killer in the film. I am pretty exhausted, yeah, but trying to stay laser focused on the too many things we need to do. It’ll be okay. Do you know whether you got the dream Vienna apartment? Fingers severely crossed. We’re hoping it’ll warm up at least a little in the desert in the next two weeks, especially since, as I may have already mentioned, we have 10 days straight of night shoots (6 pm – 7 am). I’m already freezing to death just thinking about that. Your love was a busy boy! Love showing you the story board for the high school facade scene we’re shooting on Sunday, G. ** Mildred, Hi, Mildred! Welcome! Very good to meet you! I do seem to have a strange interest in overloading my posts with too much to absorb in one day. And I’m sort of a minimalist, so it’s especially strange. I’m really happy that you found and liked ‘Left Hand’ and Paul’s work. Oh, thanks for the alert about your bar. If we get any time to do anything except work before we start shooting, I or we will come by and look for you. Awesome. Obviously, come back anytime as it would be cool to talk more and get to know you. Take care. ** Misanthrope, Me too, bro, me too. Big congrats on the lengthening remote work time. Renew your thing now because rush fees are a real drag, as I recently found out. ** Bill, He does a bit, huh, now that you mention it. Yes, the fun part, ahhh. Can’t wait. Actually the rehearsals are quite fun. The rest … not so much. I’ve only read one Dustan novel, but I count myself among the minority of people who isn’t that excited by his stuff, so far at least. I really envy your lack of grind. ** Steve Erickson, Hi. We would love behind-the-scenes footage and had planned to do that, but we’re over budget and just can’t afford to bring someone on to do it. We’re looking for volunteers, but it’s not looking great. Glad you’re upswinging from bronchitis. That’s a weird condition. I used to get it a lot. Everyone, Steve has reviewed slowthai’s UGLY here and ‘the straight-to-Shudder horror film SPOONFUL OF SUGAR’ here. Happy you’re working on music. I haven’t had time to listen to anything apart from some tracks from the new Yves Tudor, which I like. ** Kettering, Prolapses are becoming increasingly popular. They’re trending. No, no theming re: those posts, I just randomly gather the most interesting ones. Warmth out in the desert is a very high priority, and thank you. Oh, I liked your comment, no worries. I find those posts pretty hilarious too. Well, in parts, ha ha. ** NIT, Yeah, it was so great to finally meet you and hang out. Thanks so much for making time for me and the crew. Let’s do it again and more lengthily somehow ASAP. xo, Dennis ** _Black_Acrylic, Hi. We’re fairly temperate here at the moment, but I think a deluge is supposedly on its way. Well, cool you like ‘Tar’. Pleasure is always the goal and ultimate. Yes! ** Robert, Hi, Robert. Ah, no sweat. I’m having sleep wonkiness too, and yours sounds a lot more interesting in mine since I’m just being kept awake by worries about technical stuff and the money to pay for it. Awesome about ‘The Present and the Past’. Yes, she’s totally hilarious. I prefer her later work because it’s darker and more terse, but I’ve read a lot of her books by now, and, if you love her prose, they’re all very worthy. Hm, others of hers I especially like are ‘Darkest and Day’ and ‘The Mighty and Their Fall’ if you can find them. Thanks! ** Claudia, Hey, Claudia. I’d love to read your thesis when you’re finished with it. I wish I could be Paris when you’re there to meet and talk shop. Bookstores: My very favorite Paris bookstore by far is After 8 (site). Highly recommended. Assuming you read French, Les Cahiers de Colette is very worth a visit. Its a museum not a bookstore, but I always recommend Le Musée de la Chasse et de la Nature to everyone visiting Paris. It’s incredible. I don’t have a favorite cafe strangely. I move around a lot, but you can pretty much write as lengthily as you wish in any cafe in Paris Just see one that looks inviting and plunk down basically. Have a great time there if I don’t talk with you again before. ** shadeoutmapes(billie?), Hi! I like confusion, no worries. Fantastic that you might be going back to school! Like, soon? Amazing. I do believe ‘Stray’ was what I was talking about, yes. I’m also down with you about Brian Wilson. I love all those Beach Boys albums from ‘Smiley Smile’ through ‘Surf’s Up’, or at the least the tracks he wrote. ‘Cabinessence’ is amazing too. I got your cat email. Sweet! It really confused me at first, which is, as I just hinted, a luxury effect for me. Thank you! I think it’s far too late to give you late night strolling advice, but … did you? Are you still intact? xo. ** Cody Goodnight, His Cody. Things with the production are good, just a little too jam packed. Your culture input of late is pretty top notch. Man, I can’t wait until I can actually see and absorb things again. It’s all creative output for me for the foreseeable future. The Butthole Surfers’ ‘Locust Abortion Technician’ is among my favorite albums. My favorite Bunuel is ‘Joseph of the Desert’, which is kind of insane in a great way. I’m happy to hear you’re being fed so well. And I hope the upcoming week follows suit. Take care of yourself. ** ellie, Hi, ellie! No, you got in time. Awesome that your bf liked ‘PGL’. I so love Destroyer. I think his ‘Your Blues’ album is my all time top favorite album. He let us use that song for free because he liked the title of our first film ‘Like Cattle Towards Glow’, which does sound like a lyric he might have written. (It’s lifted from a Var song, however). You sound good! I’m good, just the obvious scrambling to get ready to shoot. Have an incredible week! ** ‘Right. I’ve restored Mary Woronov Day for your delectation this week. Hope you like. See you next Friday.
An intriguing multifaceted restoration today, Dennis. The painting with the red dunce cap looks like a Francis Bacon. I’ve actually seen a handful of Woronow’s films, including… Death Race 2000, which I first saw when it first came out and I got taken to the theater as a young teen (!), and decades later. It made quite an impression the first time, and I must say it’s still very watchable. I have to explore more of her work.
I’m so-so about Dustan. The writing is pretty clean, but I get pretty tired of the relentless sextalk.
The weather sucks, and I have a cold, so it looks like a quiet weekend at home of reading and movies. Hope you’re making good progress on Room Temperature and we get to see some sneak peeks soon.
Hmm, was that the first?
For sure, one of these days I’ll make it over the ocean to visit you, Thomas, meet Michael finally, etc.
randomly just watched Death Race 2000 last night for the first time in ages! She’s in a lot of good ones
For sure, one of these days I’ll make it over the ocean to visit you, Thomas, meet Michael finally, etc.
randomly just watched Death Race 2000 last night for the first time in ages
Sorry for the double post, my phone is a jerk. Oh say hi to Zac and Joel, both of whom seem extremely cool, obviously.
Hey Dennis. Love to hear the news about the movie, the version of it that I’m imagining is something like bliss. The idea of desert cold is beautiful to me even if I’m sure I wouldn’t want to be living in it either.
Getting inspired by films again, especially by catching up with experimental stuff I missed. Do you know Siegfried Fruhauf? His stuff can be insane. I uploaded a music video I made for my friends’ band recently. https://vimeo.com/805347119 if you’re so inclined. Best wishes. My fear no be small nowadays
Hi! Longish time no talk sorry I couldn’t remember when you were updating and kept falling asleep! Hope you’re well catch me up on all the things you’ve been up too! Ive been really chill oddly so actually, not used to being so normal. I think I finally snapped out of boys mean nothing to me mode which should mean I’m in for some fun soon! I started rereading How to be gay which is a pretty academic text on gayness and culture and blah so I was wondering what being gay means to you? Hope movie stuff is fun and going well of course. That’s all im good catch me up talk soon!
May I ask; are you Nick Hudson? If not, your nymic doppelganger posts here as well but I’m unsure of the screen-name… Please bear with me, but if you are Nick Hudson I just wanted to give you a heads-up that you’re on L’étranger (via RadioPanik) this week– The program’s been on a 4-month hiatus, but they’re back. If you are “you”, I must tell you, the lyrics of the piece are splendid. Truly, arrestingly good. Have you ever read Jack Spicer’s “The Scrollwork on the Casket”? It isn’t long, not overly-wrought. Just good, and your “Sacred Games” put me in mind of it.
And, if you aren’t Nick Hudson, go, Other Nick! Go and listen to your namesake!
Have a lovely day/night/whatever you’re inhabiting at this moment-
(Still a good recommendation:)
Hi! thought id comment early so I don’t forget! my weeks been good nothing wild so far but one more day and the weekend left so we’ll see! nothing new been having fun. What music are you listening to lately? if at all. Later!
MARY IS A GODESS and that’s plainif not so simple.Ever since I met her ar The Factory she’s Her paintings re quite marvelous.been an inspiration and a delight.
What a coincidence!
I love her, and I just picked up ‘Seizure’ on dvd at a sidewalk sale BECAUSE Mary W is in it.
Was planning on watching it at some later date, but it’s def on for tonight!
(Now I also must look into ‘Heaven Wants Out’! – I’m intrigued…)
Oh thanks! Aw yay ☺️ Yeah I really like destroyer, my favorite is the song from the movie but I love city of daughters also. My boyfriend’s pretty into the bad arts off streethawk a seduction. I didn’t know LCTG came from a var song, I’ll have to look it up! Awesome you’ve been busy. Busy usually means good, right? I hope everything has been going smoothly, can’t wait until the film comes out!
Also um—have you ever republished any of the stuff from the missing men? I mentioned possibly including some of the poems/collages in hyper-annotation to Kenji and he was very excited about the idea of having you as a contributor. I’m not sure I’ll stick with this stuff, like I really hate the attention, but I adore those pieces so it would be beyond cool to see them out and about again if that seems interesting to you. Maybe thanks, I hope your week’s incredible too! xx
I followed a link you’d posted here to one of your stories– it was a few months ago and I really meant to tell you how wonderful it was; I can’t find the date of the post to help me be more specific, but it was about a young girl who is being abused– I remember the language– very rich, mutable, and dark, and then
///////////////////////////// / / / / / / / / and on…
In the narrow physical frame the writing was wedged into (literally concentrating it’s power into a really tense physical space) and, considering the narrative moment, this flip to something so visual was just… Elegant. Pushing a 4th wall, perhaps? Certainly liminal. And a lovely depiction of dissassociation. Like you’d just switched the channel and still someone was singing: same key, same lyric, different voice.
Have you ever heard of Cam Scott? He’s an intensely intelligent poet/writer/punk musician out of Winnepeg (he’s got the best show through the University of Manitoba, Radio State, linked below– sooo good I’m not kidding). His book “Vanishing Signs” starts with an essay on Dennis’s gif novel “Zac’s Freight Elevator”– Anyone here might really dig it, but there’s also a good piece on ascemic writing– You might find this interesting, considering your particular talent in the visual arts as well.
Lastly (I promise): in light of the artwork you sent DC Jan. 10th– Have you seen the work of SUPERM? It’s Slava Mogutin and Brian Kinney– Now there’s a deep dive evening on the computer for you– so, so worth it. Favorites, as individual artists and in collaboration.
Okay, I know that was a ridiculous lot, and it all just started from a story! I’m so sorry I took so long to let you know how lovely your work was; it really kindof stopped me in my tracks a bit. Please, keep sharing here, if you want; it’d be amazing to see where you’ve taken things.
Have a most splendid week,
Radio State (I accidentally posted it to Nick Hudson above– ha. Gotta go to bed– my late-shift brain).
Hi Kettering! Wow this is amazing, thanks so much! That story was a hard for me to write actually, it’s a little biographical so I’m glad you got so much out of it! “In the narrow physical frame the writing was wedged into (literally concentrating it’s power into a really tense physical space) and, considering the narrative moment, this flip to something so visual was just… Elegant.” this is so completely lovely, I’m bowled over. Elegant is heartening to hear, I really wanted to be able to do something formal and aesthetically interesting to that would ‘best out’ the subject matter or something so it’s great to see that’s what you keyed in on! Yes I do know Cam, we follow each other on twitter. Vanishing Signs is wonderful and he has a substack out too now called Recent Songs which is brilliant. I haven’t heard of SUPERM, but I looked them up and I’m obsessed with the collage! Their multimedia stuff reminds me a bit of Wojnarowicz. It would be fun to share more things here, I’ll maybe do that if I do something sort of interesting? Thanks so much for the smart and attentive response!
oops a bunch of typos sorry I’m a klutz! *hard one for me… *’beat out’ Thanks for the Radio State link too, I’ll check it out ☺️ I hope your week has been wonderful.
The prolapse thing might be like thumbing blood on your chest to signify a propensity for heartbreak. Or gore smeared on your temple to flag a torn-up mind— you know— blooding the place of most intense identification (good God, wouldn’t it be great if we could just do this? I think your slave post boys are being very, very honest). Maybe it’s like that, or not. Prolapse is a literal e-visceration, so… for the ‘prolapseur’ (sic? He/she who’s witnessing or creating it) it’s got to be sensual. I’d imagine even sculptural, in a way. Also maybe an erotic banner— you know, saying ‘this is how far I’ll go’. That’s not just a boy thing, but it puts me in mind of guy friends in school always showing me their scabs and scars, the weird (and kindof beautiful) ways they tore their bodies up in pushing boundaries. They really wanted to show me this. And it was both casually and covertly revealed… an erotic between friends, you know?
I don’t usually look at your blog mid-month beacause I’ve known too many boys like the ones there and I worry for them (my own son is the same age; not inclined to self-damage, but I’m so freaking inclined to care, so…). I don’t mean to belittle anyone by saying there was humor in the post— that last one just had some fun nested up in it.
Last note; one of the things that led me to your writing in the first place was this short essay/interview you did where you talk about the asshole— the way it’s both the sewer of the body and the most beautiful, intimate place on a person. So, round again to the prolapse, I get it, I just think there could be a better way to self-harm… ha. Yup, I just wrote that.
O, and I worked as an archaeologist in the desert here (SW U.S.) for years, so I know what it gets like out there so please, please keep yourself warm with those night shoots, okay? Also, can you swim (Not fucking funny, Kettering)?
P.S. What ‘work of a fellow contemporary artist ’ (per the site description) did you receive for winning the Prix de Sade?
Video recommendation of the week: Lido Pimienta, Te Quiera
Although it may not have won owt at the Oscars last night, I do recommend this Nan Goldin documentary All the Beauty and the Bloodshed that I saw the other night. It covers her life and career, and her ongoing campaign against the opioid-pushing Sackler family, whose name had formerly been emblazoned across so many art museums.
Dennis—hi! I hope SoCal is enjoying the treat of you. Looking forward to your new film.
This feels like I’m proselytizing but fuck it! I wanted to reach out with regards to a forthcoming anthology I’m editing entitled Bury Your Gays: An Anthology of Tragic Queer Horror (April 2024). The theme is stories of queer tragic horror (romance, obsession, love, desire). I’m looking for stories that are horny, depraved, weird, or absurd, so long as they’re coupled between queer love/romance and horror in some way. The cover art is by the immensely talented Gianfranco Briceño, whose work I think you’d adore.
I *deeply* love your writing and it would be such an honour to work with you on something. Our author list currently includes Gretchen Felker-Martin and Cassandra Khaw.
We can offer 7c per word for stories (max 6,000 word). The deadline would be May 31, 2023, with an estimated release date of April 2024. Please let me know what you think! Of course, I totally understand if you’re swamped and not necessarily open to anthology calls at the moment, I just thought I’d pitch the idea to you and see what you thought. I deeply appreciate your time and consideration. I hope you’re doing well! <3
Hope you’re keeping well. I’ve missed the last couple of months of your blog because of the usual, boring life-madness, but finding more pockets of time recently. The blog is such a panacea. Thank you, as always.
Have you read the new Ander Monson book about Predator? It’s pretty cool – like a film analysis/poetry/memoir mongrel-type thing. Sounds shite when I describe it like that but it’s pretty fun.
The family are all safe and healthy and hoping to get to Paris sometime before the imminent Apocalypse!
P.S – Are you featuring in the Kenji Siratori tribute? Looks pretty cool. Would be lovely to share a TOC with you.
P.S.S – I also sent you a wee parcel from Scotland. I hope it arrives safely. Just some books and other fun stuff.
I’ve pretty much carpet-bombed the blog this week– really with good intentions (maybe if we all talk to one another, DC will feel less pressure in responding in light of his film schedule…?), but I saw your name and WOW! So exciting to see you here! I read ‘Unger House Radicals’ just this past autumn– lots to say about it but I don’t want to bother you. I’ll just ask if you’ve ever read Bruce Benderson’s story ‘The Happy Automaton’ or, for that matter, David Wojnarowicz’s ‘Weight of the Earth’? Neither is particularly edgy, but they reminded me of aspects of your work; ex. how you played with narrative rules and identity– ‘Brian’/’Bryan’, etc.. I know Burroughs has been an important influence for you (am hoping to read your work on him this season), but these other’s might still interest you. I don’t want to detail you to death– just super thrilled to be able to tell you how great that first installment of the Dregs Trilogy is (yes, I’m reading out of order; starting ‘Shrapnel Apartments’ next).
Be wonderfully well!
Hey, how are you. I hope things are really well!
I’m kind of happy because…. I’m going back to school tomorrow which I hope will make things a lot better because things haven’t felt right since. Although I’m scared, I will say something I will regret. Todays a good day to exist, after all, if we didn’t, how would we know that so many great actors won an Oscar they deserved last? I don’t really care for the Oscars, but last night, or whenever it was, actually made me happy!
Oh, is that the woman from the suicidal tendencies video! It’s so weird seeing straight people talk about lgbt people like they are just objects, like bro, lesbians aren’t trying to attract you leave them alone lol 💀
That actually reminds me of this really confusing thought I’ve had over the week, but I’ll spare the sulky details. Sometimes I just don’t feel like I fit into anything, and despite what people say, it seems like you have to be a certain way to fit into a certain group of things.
Anyways, oh I forgot to give context about the picture of the cat, sorry for the surprise lol! she was a lot younger there and it’s a crouton in her mouth, I think! I named her after a Björk song.
I have a really good goal for how many pages I get done of my draft in a day, and with it, I’m hoping maybe to complete 50 pages in 9 days, which I hope is a good goal now that I have school.
The story is about a boy who was attacked by a dog when he was 9 and ever since the attack, he starts to think he’s dead. Something like that. It has become a lot more personal than I thought so the process of writing it is gaaahhh
Oh I was wondering, I don’t want to be overwhelming, but have you listened to Slint? A while ago I started working/writing on this three-book series based around the atmosphere of their music and had to put it on hold. Have you ever done something like that with music and writing?
I hope life is great 4 u and all that! <3
Oh shit…the walk…so…I was heading past the girl's school, and I saw some guy walking towards me, and I thought ok just one of the homeless people because they walk near our apartments, but then, I saw a police car and realized it was a cop. I thought, well fuck, because I had weed on me. They laughed at me when I told them I was 18, 😐 and so they took me home and made me wake up my mom to confirm, but it was fine I guess because she thought it was a dream. (u don't have to respond to this, I just don't think I would tell anyone else)
I’m writing to you as the last purveyor of good taste in Los Angeles. We, the youth, are calling upon you to revitalize our scene and bask in our beauty. We have been deprived of our sensibilities—diminished to titles such as creatives and influencers. The artists we look to are either long gone or they’ve sold their souls to artificial intelligence. The last of us who remain are making the most important work of the 21st century and I’d like you to join us.
My name is Jasmine Johnson and I run the reading series Factory Made, a cross-genre pollination of dyslexic debutantes, transgressive twinks, ketafiend starlets, and the like. The first installment took place last January in the Pollo a la Brasa parking lot after a hundred of us were thrown out of my studio apartment. The basis of the series is to take readings out of traditional contexts and test the limits of the literary paradigm. In doing so, my aim is to create an environment where art is pushed to new extremes. If you’re able to read the night of March 31st in Los Angeles it’d be an honor to have you. I’d be happy to provide further details and discuss any questions you may have. I look forward to hearing from you.
All my best,
Truly an icon. I will now and forever refer to Beyonce and Bouncy-Bouncy.
I liked the Anders Monson book about PREDATOR too.
I’m feeling worse today than I have since last week – still exhausted, congested and coughing a lot. I canceled my physical therapy appointment, because I’m sure laying flat on my back for minutes will bring on a coughing fit.
I’ve been listening to the new Yves Tumor album as well. I wrote a review which will come out Friday. The video for “Heaven Surrounds Us…” is brilliant. I love the way it starts out as a performance-on-set visual with green, pink and orange colors and then cuts to Tumor’s child stans
Here are my reviews for this week, on Vasilis Katsoupis’ INSIDE: (https://artsfuse.org/269717/film-review-inside-the-art-of-survival/) and a Beth B retrospective: (https://gaycitynews.com/beth-b-films-queer-punk-downtown-new-york/).
I’ve finished writing songs for my next album. I have 15 to choose from, so I’ll spend the next few weeks going through them, deciding which ones I want to include and mixing them.
Do you have heat lamps ready for the all-night shoot? And when will you and Zac be able to sleep during that period?
I’m so sorry to bother you, but may I ask if you are ‘Head Full of Snow” Steve Erickson, or ‘Shadowlands’ Steve Erickson? I’m familiar with both (works), and was pretty excited to see your name here. If you are the former S.E., may I ask if ‘Head Full of Snow’ is a modular synth album? I’m not a musician, but that predilection might be what led me to it in the first place, I’m not sure.
Best – K.
Hi K. – Nope, I’m not the novelist who shares my name, but I did record HEAD FULL OF SNOW. It wasn’t made with physical modular synthesizers, but it did use DAW simulations of such equipment. Thanks for your interest in my music – I’ve now chosen and mixed 7 songs for my next album.
So toggling bxt. Bandcamp and Soundcloud I found “PAW (Cult of the Gish Gallop)” and “The Last Temptation of Karen and Chad” [who’s titles alone are thrilling, though nothing beats “Makeout Music for Pinhead and Candyman (Black Dresses Mix)”—Your titles are art!]. Those two pieces have a heaviness that I love; my brain likes sounding the fathoms of a intense, deep sound… the ‘beat’ aspect is pretty great as well.
The modular artist you put me in mind of was Patrick O’Brien (Happy Patrick’s Day- serendip-i-day!). Both of the links below are from festivals, the top maybe being in your ken:
Brooklyn (New York Modular Society): https://www.youtube.com/watch?v=0QBM2wzDtF0
LA (SoCal Synth Society): https://www.youtube.com/watch?v=e9oDHisPQl0
Have a marvelous weekend—Kettering
P.S. Thanks for giving me cause to look up “Gish Gallop”.
I’ll look up Patrick O’Brien.
I hope I can keep up that level of inspiration in my song titles. “PAW (Cult of the Gish Gallop)” came from the fact that the song uses a sample of Ben Shapiro ranting about the evil of Cardi B & Megan Thee Stallion’s “WAP,” played backwards.
How are you? I feel like I don’t want to overload the comments when you’re in such a busy phase, but I just wanted to wish you all the best with the filming of Room Temperature, and I hope it’s a wonderful experience even though I’m sure it will be super hard work.
Your RT updates are a great read, as many have said, super exciting and a nice insight to your moviemaking process.
I turned 50 at the weekend. Fuck that, but it’s ok.
Desert weirdly warm at night for the duration of the shoot love,
I emailed you a pdf of my newest, BOYCRUSH
for young adults who are struggling
How is ROOM TEMPERATURE coming along?
I love you,
Ouch, that’s rough, yeah the advantage of my insomnia right now is that I don’t have any commitments anyway, it must be brutal if you’ve actually gotta wake up and do creative work. I’ll put those books on my order list! Hope your week went well, I’m going down to Dollywood for a couple days with my cousin which should be fun, although I bet the vegan offerings will be meager. Love the post, she sounds like she’d be really fun to get a drink with.
How’s everything in L.A.?
Honestly, it sounds like you found the perfect person for the role of the daughter after all. She sounds pretty damn impressive! I’m so glad!
How’s the weather in the desert? Ten days of night shoots doesn’t sound fun at all if it’s still freezing, fuck…
Our Vienna project is still in progress. We’re meeting the apartment’s owner next Wednesday to talk about the next steps. So, fingers still crossed! And in the meantime, SCAB’s 12th issue was born this morning. Here it is (although I’m pretty sure you have exactly zero time or capacity to kick back and read right now): https://scabmag.files.wordpress.com/2023/03/scab_issue-12.pdf
Ah!! The storyboard! Thank you so, so much for sharing! It looks really great! Are the two figures in the middle the main characters?
Love preparing to wrap himself around you like a protective second skin to keep you warm in the desert, Od.
It’s me! I’m so sorry I havent messaged in so long, I have been so busy, but I have a bunch of rly exciting news to share, like, insanely cool news.
So in december, this contemporary visual artist named Mark Leckey (he won the Turner Prize one year) was wanting to arrange this multimedia art/music evening festival thing in Margate and he was walking around Margate and he visited the office of a small community based record label my friend Tom now owns and asked if he knew any ‘weird wacky artists’ and Tom said me, so he followed me on Instagram, I loved his work after researching him, and i sent him my album which he adored, so, from January I have been asked by him to create an 8 min film for usage in a main exhibiton at the Turner Contemporary Gallery from October this year to Feb next year, I have a BUDGET (whats a budget??? hahah) of 2k, and I get a few thouysand on top of that too, its insane, im so excited, I should be filming in the same period as you are! which is fun
Some more fun music news: so the producer of this exhibiton is a guy called Ben Broome, who i sent the album to, he also loved my next album, him and Mark are attending my gig in April in Margate, and Ben said if he likes my show as much as he liked the album he will send the album directly to the CEO’s of Warp Records and XL Recordings, because hes on v good terms with both and he said he’s basically like, he said he was rly annoyed that nobody else was listening to the music he was like ‘loads more people should be hearing this!!!’ so yeah!! I might be on one of my dream labels, and possibly be like a proper ‘artist’ by the end of this year!!
So yeah!!! so excited, rly happy to hear u and zac have got the movie going, if u ever want to use any of my songs, let me know Zacs email and I will send the album over, if it doesnt fit with anything at least I had the chance to share my album with a cool guy (not as cool as you)
Let me know ur email or a medium of contact, when I get paid from this thing I want to come to Paris or something and visit, would be nice
Lots of love!!
How are you? I hope things are going smoothly on production in LA. I love Mary Woronov! I think she’s hilarious in Eating Raoul and The Living End, and she was my favorite part in Death Race 2000, aside from a quite young Sly Stallone. I really want to see Chelsea Girls. I’m a big admirer of Andy Warhol and his Factory crew, and I desperately want to see it. This week is going by decently well. For my tv production class, I was the audio technician for some faux-cooking show practices. It was pretty fun. I think audio and being a technical director are my specialties. I spent last weekend and this week building a new bed and some shelves in my room to fit my physical media collection, which is now sitting nicely in my room. My grandmother is moving in with my parents and I, so we prepared her a room. It’s been quite busy. We’re probably gonna go out and eat Mexican food. Do you like Mexican food, Dennis? If so, what are your favorites? My film watching hasn’t been the best. This week, they included:
Frank Oz’s The Stepford Wives (2005) – a really weird remake of the original film, which I quite enjoy. It kinda messes with what made it so suspenseful, and it’s just awkward. I do like Bette Midler, but everything else is quite lackluster.
Yoshiaki Kawajiri’s Wicked City (1987) – a pretty fun, violent anime film that has some nice body horror and animation, but is a little problematic with its portrayal of sexual violence as erotic.
James Nguyen’s Birdemic: Shock & Terror (2010) – a complete and utter waste of time. I watched this with my friends and we were livid. It’s built up as this beacon of “so bad it’s good” filmmaking when it’s really quite dull and shoddily made. I thought it was a slog to get through.
Robert Aldrich’s Kiss Me Deadly (1955; Rewatch) – my favorite film noir. It’s just so mean and that ending is horrific.
I do plan to watch some good stuff later. Tonight, im going to watch Dennis Hopper’s Out of the Blue with some friends and hopefully I can watch Jean Rollin’s Fascination or Johnnie To’s The Heroic Trio tomorrow or this weekend. I may rewatch Douglas Sirk’s Written on the Wind. As for music, I just now finished listening to There’s a Riot Goin On by Sly & The Family Stone and I loved it. So funky and so great. Oh! I also started reading Poppy Z. Brite’s Exquisite Corpse and I am loving what I am reading. It’s so disturbed and funny and beautiful. Have a great day or night Dennis!
Dennis, Hope things are going well.
Well, I’m lucky in that I don’t have to do a rush on the passport. It expires in May, so I should be good getting the renewal out now.
Otherwise, nothing new to report here. Going out with friends this weekend. We’re gonna see that dinosaur movie 65 (not my choice but I’m a team player, believe it or not) and then hit this place we hit every St. Patrick’s Day for food. They do traditional Irish food for the holiday and I like some corned beef and cabbage. But yeah, just that.
hey Dennis – Great Mary Woronov post. The amount of different work she’s done is impressive. I’ve been meaning to read her ‘Swimming Underground’ book for ages so this is a good reminder. Have you read it?
Hope all the pre-production stuff is coming together. How are you and Zac feeling about everything? Are any gaps left to fill? I’m excited that the shoot is happening so soon.
I’ve been AWOL here for a while b/c I found out my chronic pain was caused by torn tendons and ligaments in my elbow, undiagnosed damage from the car accident last summer. I got a stem cell procedure to fix it — a painful process with a long recovery that’s limited my ability to type for months. The good news is that it’s worked and I’m finally on the way to being 100%.
The Song Cave is releasing a collection of Bookworm interviews soon. It’s utterly amazing, as you’d expect. I’d love to put together a guest post about it, if that’s cool? They can offer some excerpts and other content, etc. The roster is all deceased writers – Ashbery, DFW, Sebald, Didion, Paley, Sontag, Morrison, etc.
Sending you and Zac all the best vibes for the shoot! XO