Showing posts with label Hammer Books. Show all posts
Showing posts with label Hammer Books. Show all posts

Saturday, July 31, 2021

Wayne Kinsey: The Hammer Vampire Scrapbook

Hammer Vampire Scrapbook, Wayne Kinsey, Peveril Publishing
 Wayne Kinsey has done it yet again!

Only a few months after publishing The Legend of the 7 Golden Vampires Scrapbook, his Peveril Publishing House has now released The Hammer Vampire Scrapbook.

Their previous Hammer Dracula Scrapbook focused on the Christopher Lee Dracula movies and is now out of print and goes for crazy money on Ebay (on the rare occasions that it actually surfaces). And needless to say - and to my everlasting chagrin - I didn't grab it when it was still available, just like I also failed to obtain a copy of their Hammer Frankenstein Scrapbook.

Ah well, life is made up of a series of regrets...

His new book now concentrates on The Brides of Dracula, Kiss of the Vampire, Vampire Circus and Captain Kronos, Vampire Hunter, leaving room for the Karnstein Trilogy for a later publication.

Don't know what to write without falling into the ever same superlatives with regards to the Peveril Books. I seriously never tire of them and The Hammer Vampire Scrapbook is no exception with 352 pages choke full of often ultra rare and never before published images from contact sheets as well as promotional material, scripts, lobby cards and posters covering everything from promo photos of actors and other crew members, to behind-the-scenes coverage of the shooting, a look at the sets and locations, censor reports etc etc.

My own copy was 516/700 and no doubt this will sell out as fast as most of their other books did. This book can as always exclusively be purchased only on their website.



Friday, January 1, 2021

Wayne Kinsey: The Legend of the 7 Golden Vampires Scrapbook


Wayne Kinsey’s Peveril Publishing House has over the last few years kept the flame alive for us Hammer Fans when it comes to sumptuously illustrated coffee table books.

 Wayne had previously written a number of Hammer related books for more traditional publishers, some of which have now become collector’s items. He was also behind The House That Hammer Built, an incredibly in depth fanzine dedicated to all things Hammer and the research that went into publishing this was the basis for a lot of his subsequent oeuvres. 

As successful as all his ventures were, Hammer by now is a very niche market interest so at some stage it became increasingly more difficult for regular publishers to justify those kinds of publications so Wayne together with designer Steve Kirkham set about creating their own independent imprint. The rules they use for their books can be summarised as such: 

 • Only the highest quality will do. 
 • They will have a very limited print run of usually 600-700 copies. 
 • They will only sell through their website so don’t bother searching for them on Amazon or elsewhere. • The books need to stay below 2kg as the postage rates would otherwise sky rocket. As a result their publications don’t come cheap but they are worth giving up on a few meals just to afford having them on your shelves. And once they’re gone you can rest assured that used copies will skyrocket in price in no time at all. 

I have previously reviewed The Peter Cushing Scrapbook and their Hammer Locations.

I also own their non-Hammer related series of Fantastic Films of the Decades (three volumes so far) and their book on She. I have, however, missed out on some of their other books that have since sold out, most regrettably The Hammer Frankenstein and Hammer Dracula Scrapbooks

So when their latest publication was announced, The Legend of the 7 Golden Vampires Scrapbook, I knew I had to get my hands on it. Though I was early enough with the ordering, my copy already is number 398 of 600 so by the time you read this, there may not be many more left. 

The Legend of the 7 Golden Vampires with its melange of Hammer Horror and Shaw Bros Martial Arts was always a film I totally adored, maybe not even despite but because of its faults. (John Forbes-Robertson, looking at your and your lipstick.) It never ceases to entertain me whenever I come around to viewing it but it is admittedly at first glance an odd choice for a standalone book of its kind. 

That is until you learn that Wayne is in possession of Cushing’s screenplay, arguably the only fully complete Cushing script still around and it features all his notes, drawings and costume suggestions. 

Wayne also already owned Roy Ward Baker’s script with notes so those two scripts mark the centre point of this new book. Add a plethora of other photos and material covering all aspects of the production plus additional material relating to a range of unfilmed Hammer Draculas and you have yet another absolute Must Have from Peveril.





Tuesday, October 15, 2019

Captain Kronos vs The Mummy (Titan Comics Releases)

Recently read two officially licensed Hammer comics published through Titan Books.

 Titan had previously issued Marcus Hearn’s excellent HAMMER STORY, HAMMER GLAMOUR, THE HAMMER VAULT and THE ART OF HAMMER, so is the perfect choice for Hammer Studio related publications.

 In the past you were able to enjoy Hammer related comic book stories in the pages of the legendary “The House of Hammer” magazine, predominantly adaptations of their films, at the time an ideal way to immerse yourself in their movies when easy access to them via DVD, Blu Ray or streaming was unheard of.

 Titan Comics’ recent THE MUMMY – PALIMPSEST and CAPTAIN KRONOS: VAMPIRE HUNTER both go a different direction by taking the original Hammer movies and using them as a spring board to develop new stories.

 Each of those two are perfectly readable and enjoyable in their own right but CAPTAIN KRONOS is the one that has the edge with regards to truly carrying the Hammer torch whereas their version of THE MUMMY really is only tangentially linked to any of the Hammer mummy flicks.

 Though often flashing back to previous incarnations, most of THE MUMMY – PALIMPSEST is set in modern day London.

 In the late 19th Century members of a secret society, the Sect of Anubis, discovered how to cheat death and gain eternal life via the Palimpsest ritual, which required them every 33 years to drink the blood of a female victim chosen to be the host for the ancient Egyptian Priestess Nebetah. Their current chosen one, Angel Kostenko, has been brought to London by sex traffickers but proves resilient in her fight against both her kidnappers as well as the Sect. She is somewhat aided by another group battling the Sect of Anubis, however, soon learns that those guys’ motives may also not be quite as benevolent as they seem to be.

 This is a very effective mummy story but it is only borderline related to Hammer’s original MUMMY (a few brief glimpses of Kharis here or there) and despite the focus on a female mummy also has little to nothing to do with BLOOD FROM THE MUMMY’S TOMB.

 Even though the connections to Hammer are tenuous, this is a highly enjoyable read within the sub-genre of mummy literature and films with an ever so slight – cynics may say: token – feminist slant given that the current sacrifice is both a victim of sex traffickers as well as a pawn between two male-only member societies.

 For Brazilian artist Ronilson Freire THE MUMMY – PALIMPSEST is arguably his biggest English language assignment yet as he is mainly known for work in his native country though has also been involved with DOCTOR WHO graphic novels and a number of other UK/US projects.

 Up until I read the mini bio at the end of the comic, I was convinced that writer Peter (X-STATIX) Milligan was American as the weakest part of this graphic novel is the often ridiculously clunky, archaic and faux-English Upper Class dialogue by the members of the two Secret Societies battling each other. I was totally convinced that no one born in the UK would write lines like: “I am popping up to Scotland for a spot of shooting.”

 Goes to prove how much I know…..


 The CAPTAIN KRONOS: VAMPIRE HUNTER comic on the other hand is directly related to the characters in the movie and develops their story further.

 The main hero was always one of the most original vampire hunters, a young, debonair, swashbuckling, pot smoking slayer who at one stage was even planned to be a time traveller, hence the name: Kronos.

 No time travelling in this comic by writer Dan Abnett (GUARDIANS OF THE GALAXY) and artist Tom Mandrake (THE SPECTRE). Instead the plot reunites the three main characters from the movie –Kronos with his trusted sidekick, the eccentric Professor Grost, and sexy gypsy girl Carla who they encountered in the movie and who has now joined them along their way - for a new adventure following the film’s events.

 Their journey brings them to a little village besieged by powerful vampires. When Kronos ventures out to investigate he doesn’t just discover that these are immune to sunlight but also unearths an even bigger mystery.

 What this story does really well, apart of course from some grandiose fight scenes, is to depict the fact that in Kronos’ world there are all different types of vampires that each require a new strategy to defeat them, again setting this character apart from the more traditional vampire hunters.

 Both comics also contain short articles by Marcus Hearn about the history of the original Hammer movies these new stories were inspired by. CAPTAIN KRONOS: VAMPIRE HUNTER also contains a foreword by Caroline Munro.

 Overall am quite impressed with New Hammer’s comic book excursions into Old Hammer material with a modern twist and I’m hoping there’ll be more to come… but have a funny feeling this will be yet another short lived attempt to try and breathe new life into an otherwise moribund company.

Friday, December 20, 2013

The Peter Cushing Scrapbook


Ever since I got my Kindle a little bit less than two years ago my reading and book buying habits have changed quite a bit. 

Whereas previously I was a regular client with the local bookstores and often purchased normal paperbacks at normal prices, this has now nearly completely gone down the river. Unless I receive a book voucher, I generally don’t spend any money on bog standard paperbacks anymore.

I quickly learned that I can easily get the classics for free and when I want a current novel or non-fiction book I get them cheaply and often at a great discount in an eFormat.

I am also a great fan of classic pulp fiction, easily get bored with the cover design for most modern editions and regularly frequent the Second Hand book stores, again getting my regular reading fix from discounted second hand books.

On the other hand, however, I have over the last few years spent a crazy amount of money on some exclusive edition coffee table books that may cost an arm and a leg but that truly deserve a special place on my shelves.

Especially us Hammer Fans have over the years been able to reserve some of our shelf space for beautiful tomes on all aspects of Hammer. 

Wayne Kinsey is one of the most prolific authors in this field and when his Hammer Films on Location failed to find a regular publisher he simply set up his own publishing house, Peveril Publishing.

The Peter Cushing Scrapbook is his second venture and limited to 2000 copies.





Printed landscape in an oversized scrapbook format this is a beautiful accumulation of Cushing memorabilia and a celebration of the life and career of the Gentleman of Horror who would have turned 100 this year.

The material is published on a film-by-film basis with short introductions provided by co-author Tom Johnson. None other than George Lucas has provided the foreword; the afterword is by Janina Faye.

The heart and soul of this work, however, are a myriad of pictures accompanying each chapter and generously provided by his secretary Joyce Broughton or on loan from a range of collectors worldwide.

These range from often rare and previously unpublished private and on-set photos to theatre programs, snippets of newspaper publications and most importantly countless reproductions of Cushing’s own copiously annotated scripts and sketches for costume suggestions as well as cartoons and phonetic rhymes created for his beloved wife Helen and other friends and colleagues. More than any written word can do, these give a wonderful insight into the true nature of Cushing, the man, and his vast range of interests and talents. Yes, we of course also get a good idea of all those scarves he designed, his toy soldiers, dollhouses and watercolours. And if you ever wondered what his well-travelled passports looked like, then wonder no more.

The most amazing insight into his professionalism as an actor comes from noticing the extent of notes he prepared in advance of any film shot, regardless how big or small the production may have been. Even lesser works such as The Uncanny or Hitler's Son had his full attention. No wonder he was incapable of ever providing a bad performance.

Those coffee table publications stand and fall with the quality of their printing and the reproductions here are faultless. I had no issue deciphering any of the script pages or other written material. The binding also appears to be made to last. The landscape format is unusual but ultimately a good choice for the subject matter.

This book is exclusively available through Peveril. When ordering it is also possible to purchase an additional DVD-R with some of the pictures in the book as well as a few others that didn’t quite make the cut. That DVD-R is not really essential but a nice extra to have.

As long as Wayne and some of the other authors will continue with their sterling efforts in creating those visual master-pieces, my book shelves will find a welcome space for those. No fear of me ever wanting to have these in anything else but a physical copy.

Sunday, October 20, 2013

I. Have. Returned.

Well… kind of.

After too long a time spending far too many hours working too many jobs, I have now simplified my life, quit the corporate world and am focusing entirely on my own projects, meaning predominantly working away as a private German tutor in Cork. 

If you want to pick up some tips and tricks on learning German, please feel free to visit my Facebook page

Oh, and I also give lessons through Skype.

What that means is that I should also finally have more time at hand to again focus on this dangerously abandoned blog of mine. I am not putting any undue pressure on me as to how often I might post again, but you should definitely see an upsurge in new posts over the coming weeks and months.

And for starters I would like to draw your attention to Flesh and Blood, Book 3.

If you remember, I was quite ecstatic about the first issue of this new 4-part horror comic series and had also featured an interview with the creators, Neil Vokes and Bob Tinnell, who had succeeded in creating a unique Gothic induced comic book world that was obviously influenced by the imagery of Hammer’s classic production without ever resorting to a simple rip-off of their tropes and themes. 

BOOK 2 had finished with a tantalizing hint of a time travelling Victor Frankenstein and BOOK 3 kicks off about half a century into the future in the late 19th century, a period of more than a passing familiarity for us Hammerheads.

Rather than being an all-encompassing demon slasher monster mash, the current issue focuses predominantly on Frankenstein and his attempts to regenerate a certain Dr Jeckyll who passed away while being possessed by his evil Alter Ego. He transfers Jeckyll’s persona into that of his final female victim and, hey presto, Frankenstein Created Woman and Dr Jekyll becomes Sister Hyde!


Just like in the previous parts, Tinnell and Vokes both manage to create a slice of genre comic that is clearly inspired by the magic of the Hammer Horrors, yet do it in such a unique way that this remains a genuinely new and unique piece of story telling.

With its new focus on the Jekyll & Hyde story and moving away from the Carmilla/Dracula/Werewolf angle of the first two books, BOOK 3 could easily be read independently by those readers who are not yet familiar with the FLESH AND BLOOD universe.

And a proper universe this is soon becoming as theoretically nothing should now be able to stop Mssrs. Vokes and Tinnell to further expand on these topics and set them up with any new monster and at any possible period of time. Kind of like what CAPTAIN KRONOS may have become had that film turned into a series.

In addition to the main graphic novel, we also get the continuation of two other far shorter comic books stories written by Tinnell (Baron Frankenstein drawn by Adrian Salmon and Operation Satan by Bob Hall). Tom Savini provides the foreword and with it one of my current favourite quotes: “The more you do, The more you get to do!” And an article by Michael H. Price with an overview of horror comics rounds up the entire oeuvre.

What can I say? It's good to be back.








Friday, November 23, 2012

Christopher Gullo: The Films of Donald Pleasence (Review)

One often gets the impression that little is left to uncover when it comes to book projects pertaining to classic horror and fantastic cinema. It frequently feels that publishers are clutching at straws when they greenlight books about the memories of the guy who cut the lawn for Dwight Frye's second cousin's next-door neighbour. Yet every once in a while something comes along that makes you turn back and ask if it really can be true that no-one has ever covered that topic before and, by the way, why didn't I come up with that idea!

Christopher Gullo's The Films of Donald Pleasence is an example for one of those books.

17 years after his death (has it really been that long?) and despite having a large and loyal fanbase and having participated in more than a hundred movies (and a similar number of TV productions), many of which have become cult classics, this is the very first book ever written about “The Man With the Hypnotic Eye”.

Having been a prisoner-of-war in WW2, an experience that was going to haunt him until the end of his life and that influenced his performance in The Great Escape, Pleasence quickly restarted his early acting career after the war in London stage productions and from there gradually moved to film and TV roles. Though today he is most easily recognised as psychiatrist Sam Loomis from  John Carpenter's Halloween series – speaking about waiting your whole life for a career defining moment -, reading this book it becomes apparent that the most important role of his acting career was likely that of Harold Pinter's The Caretaker, a part that he made very much his own in both the stage and the movie versions.

He defined the Bond villain persona so much that it was his Blofeld that was parodied in the Austin Powers movies and on top of appearing in numerous jungle war flicks late in his career for the paycheck alone he also found the time to pen a children's book Scouse the Mouse and record a song that at this time of year just beckons to be unearthed again: Snow up your nose for Christmas (with lyrics by Ringo Starr).

Oh, and he also played in one Hammer movie: Hell is a City.

The format of the book follows the standard of the old Citadel publications:

A large introductory biography compiled with the help of interviews with some of Pleasence's family, friends and colleagues (including his wife Linda, daughter Angela, John Carpenter, Kevin Connor and Ulli Lommel) is followed by a film-by-film critique consisting of a cast overview, a synopsis and a review of the film in general and Pleasence's performance in particular.

The emphasis is very much on his movie work with some of his TV roles briefly mentioned but not much accentuated upon. If there is one thing I would have preferred it is to see a stronger additional emphasis on that part of his career in exchange for less of the synopsis, an area that I routinely just skip over whenever I come across them in movie books.

Still, this is a very good introductory work on this hitherto ignored actor that will hopefully encourage additional research that may ultimately expand to a full blown biography.

In the meantime, however, we still have a long way to go with Pleasence before we reach the point of oversaturation.

Tuesday, September 25, 2012

Christopher Gullo: The Films of Donald Pleasence

Christopher Gullo is a good buddy of mine and somewhere up there in the world's Top 10 of Peter Cushing Fans. Ever since the late 1990s we've been communicating about the Gentle Man of Horrors. in 2004 he published In All Sincerity, Peter Cushing, a wonderful overview of the actor's life and career as told to Chris by many of Cushing's co-stars, friends and colleagues. (Incidentally I only just noticed now that there is also a cheap Kindle version of that book available that at $3.39 is quite a steal.)

He has now finished his next oeuvre dedicated to the wonderful Donald Pleasence, an actor who for some reason totally beyond me has so far never received the biographical treatment he so well deserved.

Chris is now closing that gap and in conjunction with Bear Manor Media will soon release The Films of Donald Pleasence.

Please find below some additional info about the release:

Mention the words "horror star" and certain names immediately spring to mind-- Boris Karloff, Bela Lugosi, Peter Cushing, Christopher Lee, and Vincent Price. But another, lesser-known name was also heavily involved in numerous horror and science-fiction films-- Donald Pleasence. Featuring a distinctive look, memorable voice, and a serious approach to his roles, Pleasence shined brightly in many genre favorites. Whether as a maniacal body snatcher in The Flesh and the Fiends, a surgical assassin in Fantastic Voyage, the arch-villain of 007 in You Only Live Twice, a sarcastic inspector in Raw Meat, or his career-defining role as the heroic Dr. Loomis in Halloween, Donald Pleasence proved himself to be a top performer in the fantastical genres of horror and science-fiction. The Films of Donald Pleasence includes a full biography, tributes from Pleasence’s friends and coworkers, reviews of all his films, and a rare photo gallery in the first-ever book devoted to the man who became a genre favorite to countless fans.
To learn about this or other BearManor Media titles, please visit our website at www.bearmanormedia.com.
ISBN: 1-59393-212-X
Format: Softcover; 6” x 9”; 316 pages
Price: $21.95
Available also through Ingram and amazon.com
About the Author: Christopher Gullo is a history teacher and a life-long fan of genre films who resides in Long Island, NY with his wife Beth and son Anthony. His first book was In All Sincerity...Peter Cushing and he still runs the Peter Cushing Association on Facebook. In addition, Christopher has contributed to various books, magazines, and DVDs.

Sunday, September 9, 2012

John Hamilton: X-Cert

Let's see...

We have books on Hammer. Lots of them.

We have an excellent overview over Amicus courtesy of Little Shoppe of Horrors #20 and a controversial Dark Side publication Amicus: The Studio That Dripped Blood. The original author did an Allan Smithee and removed his name but say what you like about the contents this is still beautifully illustrated.

In recent years we also got Beasts in the Cellar: The Exploitation Film Career of Tony Tenser to focus on Tigon Productions. (I haven't read this yet but according to all the people whose opinions I value, this has my name on it.)

So what is left in terms of a more specialised approach to Classic British Horror?

Ah yes, an overview over the independent UK Horror movies of the time.

John Hamilton, author of Beasts in the Cellar, has now taken on the task of filling that gap on the book shelf.

X-Cert - The British Independent Horror Film: 1951 – 1970 does exactly what it says on the tin.

Published by Hemlock this volume will be instantly familiar to those who have previously read Bruce Hallenbeck's recent Hammer books. It features the same size and style of artwork and is richly illustrated, mainly in black & white but also with a separate 8-page coloured spread.

Given the complexities of film financing and international co-production deals at the time Hamilton mentions in his introduction the difficulties in coming up with a definitive list of what constitutes a) a British, b) an Independent and c) a Horror film and freely admits that his list is probably subject to debate. As such I am not even going to bother arguing which films should or should not have been included and am just enjoying his chronological overview of all the films from Mother Riley Meets the Vampire to The Corpse/Crucible of Horror.

Each of his entries is rich in historical detail and intelligent critique and low on synopsis just as it should be.

As this book primarily focuses on x-certified “adults only” movies of the time we get a good overview over the changing mores, involvements with the censor and political legislation with regards to film productions during those two decades.

Hamilton also manages to place the various cinematic talents in their respective career paths:

For one we have the usual genre stalwarts, often on a break from Hammer, such as Terence Fisher, Peter Cushing, Christopher Lee, Boris Karloff, Anton Diffring or Michael Gough.

Even more interesting, however, are those that are on either end of their career spans: a young Sidney J Furie directing Dr Blood's Coffin or helping to supervise the making of Devil Doll; a mature Joan Crawford going Berserk! for Trog.

For some like Michael Powell producing a film like Peeping Tom would put an end to an illustrious career. For others like Bryant Halliday (Devil Doll, Curse of the Voodoo, The Projected Man) these films were practically the sole reason that they still feature somewhere in the footnotes of cinematic history.

The book is full with details about short-term production companies such as Planet, Gala or Eros Film Distributors some of which were only ever set up for one film to avail of a government deal, then were disbanded or re-formed under a different name to ensure that they would again be eligible for the very same State sponsorship.

If there is one single name that comes up time and again providing something of a narrative throughout the two decades' worth of indie film history it is that of  Richard Gordon. He was single handedly responsible for the largest bulk of the movies in this book. Having established a friendship with him over the years, the author then rounds up this tome with a very personal and heartfelt remembrance of this multi-talented business- and showman who – outside of the Great Three Studios – did most to provide the British public with their share of chills and thrills.

If there is anything major that this book could be criticised for it is mainly by sins of omission. I personally would have loved to see the topic extended to the 1970s, a decade that probably proved to be the most fascinating for British Independent Horror films with the likes of Pete Walker, Norman J Warren or Mike Raven around.

A little birdy has, however, told me that a possible follow-up volume may be on the horizon at some point in the future which will no doubt make a great companion piece to this edition.

X-Cert is available both through sellers at Amazon US and UK as well as through Hemlock's own website.



Monday, September 3, 2012

Wayne Kinsey/Gordon Thomson: Hammer Locations

If anyone ever needs a definition of what constitutes a niche market book, point them to Wayne Kinsey's and Gordon Thomson's new publication about the Hammer Locations.

This is definitely not anything for the casual Hammer or Horror Fan but for the die-hard fanatics who live and breathe Hammer and need to know every last detail about the productions.

And then go to visit their locations.

For anyone within that target niche Hammer Locations is an excellent, richly illustrated travel guide with in-depth descriptions of the areas the Hammer Horrors were filmed in and detailled maps and instructions on how to get there.

Being one of a small number of Hammer-focused authors, Wayne Kinsey hardly needs an introduction to readers of this blog. His partner-in-crime for this tome is Gordon Thomson, a runner, assistant editor and sound recordist for a wide of range of shows with vast contacts in the industry to help him identify even some of the more obscure locations.

Initially the book was meant to be just one chapter in Kinsey's previous book about Hammer Films – The Unsung Heroes but when that chapter started growing within an already massive manuscript, the publisher Tomahawk Press opted for a separate volume. Alas, the recession and declining specialised book sales ultimately prevented Tomahawk from adding it to their own portfolio, leaving Wayne no choice but to set up his own publishing house, Peveril Publishing, where this book is now exclusively available from. So don't even bother checking the likes of Amazon & Co.

It is clearly a sign of the progress made in the self publishing industry that an individual can now produce a volume that at no point ever indicates that it doesn't have the weight of a professional publisher behind it. This book is meticulously researched, fantastically bound and printed and sumptiously illustrated in both colour and black & white. This is clearly NOT a “vanity publication” but a thoroughly professional one that just happens to be produced privately as its topic is otherwise too obscure for any of the regular players in the field.

The initial chapters introduce us to the most commonly associated Hammer locations, Black Park and Bray. We get a general overview over those including a suggested walkthrough for anyone visiting those for the first time and with limited time on their hands.

Following that we are treated to in-depth discussions of all the locations for the main UK based Hammer  Horror, Fantasy and Sci Fi films. Contemporary photos and screen grabs of the movies are compared side-by-side with current pictures of the locations as they look now. Some of the places have barely changed at all, others have irrevocably been altered.

The amount of information available on those locations is simply staggering. I think that it is safe to say that if the authors haven't managed to identify a place, hardly anyone after them ever will.

As thorough as the text is, space-wise it is far outweighed by the photographic material on hand which is actually a good thing if like me you aren't living anywhere near those places. Even couch travellers will be able to get great enjoyment out of comparing the sites then and now.

Though Hammer Locations primarily focuses on the UK shooting sites for the company's genre movies, we also get shorter entries about their comedies and foreign locations with a separate chapter for Irish-based Ardmore Studios and Powerscourt which I would have loved to have had along with me when I visited the area a decade or so ago.

I know that the first couple of readers have already successfully used the book for their own excursions into Hammer. And rumour has it that next year there may just be an organised guided tour event. (Yes, please.)

So what is stopping you from purchasing this?

Ah yes, one thing that may bring your planned purchase to a screeching halt is the price.

The base cover price is £25 (£5 more if you purchase an additional 2 DVDs with the photos taken for the book) but depending on where in the world you live up to £22.25 needs to be added for postage and packaging which means that either way you look at it this book won't come cheap.

The p&p, however, is what it is and anyone who has ever looked into the printing costs for such a beautiful volume will know that this doesn't come cheap. Hammer Locations regardless of its total price tag is not going to be a major money maker and Wayne will count himself lucky if he ends up  breaking even.

So foresake a night on the town, save a £1 a day, drop hints with your loved ones about future birthday or Christmas gifts but treat yourself to something special if that book sounds like it may appeal to you.

And then start saving early for the next books that Peveril Publishing is aiming to release over the next year or two.


Thursday, July 19, 2012

Peveril Publishing.... a new home for Hammer books

I know, I know, I do believe that books about Hammer have probably reached saturation level.

Whereas I was previously excited about *any* new publication that came along it is safe to say now that with all the (mainly: worthwhile) publications that have flooded the market in the last 10 or 15 years, I won't be rushing out anymore to buy yet another history of Hammer or yet another coffee table photo book.

Sometimes enough is enough and less is more. And there are very few Hammer related topics that I still need to see covered in book form.

But there still *are* some books I am getting excited about.

Case in point: Wayne Kinsey's new Hammer Films On Location book as I love travelling probably as much if not more as I love movies and I enjoy nothing more than combining those two main passions in life.

So when I first heard about his latest project I was giddy with excitement just to see my hopes shattered when it became apparent that his previous publisher saw little opportunity in getting this work published in the current climate.

For a while it looked as if we may never be able to read the fruit of Wayne's in-depth research but he has now set up his own publishing venture, Peveril Publishing, that will make this book available for order.

And apparently this will be the *only* place where you can order this. Don't expect this on Amazon or any other online market place anytime soon.

Imagine my surprise, however, when I just discovered that his will not be the only publication planned in the near future and that he indeed has a number of Peter Cushing art books planned: Peter Cushing’s Book of Bird Drawings, The Peter Cushing Scrapbook and Boys will be Bois.

Consider me agog with excitement.

Now off to order the Locations book....


Monday, April 9, 2012

Dave Worrall/Lee Pfeiffer: Cinema Sex Sirens

Dave Worrall and Lee Pfeiffer, the authors of Cinema Sex Sirens, are the brains behind CINEMA RETRO. Dedicated to the films of the 1960s and 70s this is the only professional magazine these days I still subscribe to. And so should you if you haven't: The magazine consistently publishes very well researched, in-depth and beautifully illustrated articles often with the involvement of the men and women behind those flicks. Their look into The Men from U.N.C.L.E. movies e.g. lasted so many issues that a compilation of these articles would easily make up a proper book in its own rights.

In actual fact that publication is so good you may not just want to purchase their magazines once but even twice just so you have a spare copy to auction off once the mags are all sold out. Their Where Eagles Dare Special Edition from just about three or so years ago now easily commands prices in the $100 range.

Just goes to prove that Worrall and Pfeiffer clearly know their stuff.

So when they promise a coffee table book dedicated to the 1960s/70s sex sirens you bet that I'm all over it.

Those two decades with their more free spirited approach to sexuality and nudity rolled out new kinds of athletic female sex symbols that were all stunning, luscious and wonderfully uninhibited with not a Size 0 anywhere in sight. These beauties were often the focal point in horror, spy and (s)exploitation films (and their accompanying posters). Not a lot of modern female stars are still oozing this kind of glamorous jet setting mystique. As the promotional campaign for this book emphasised: They sure don't make'em like they used to.

The concept is very similar to Marcus Hearn's Hammer Glamour from a while back. All actresses get anything between 2-6 pages. A short biographical overview of generally one, sometimes two pages will not, ahem, reveal anything majorly new if you are already familiar with the ladies in question though serves as a good spring board to the primary raison d'etre behind the tome: the photos.

The book is richly illustrated with good quality reproductions of promotional photos and cult film posters. This being the Internet age it's hard to really describe a lot of those pics as “rare” but as usual it's nice to have them all available in one single publication.

The book is divided into three main sections dealing with Hollywood Sex Symbols from Raquel Welch to Natalie Wood (and also including Russ Meyer gals and Blaxploitation favourites), the Continentals (e.g. Ursula Andress, Senta Berger, Sylva Koscina and a number of giallo references) and Brit Glamour. The last section contains chapters on some of the more prominent Hammer Glamour ladies (such as Ingrid Pitt, Caroline Munro, Madeline Smith).

One potent reminder about the quality of the images in this publication is when I discovered to my initial dismay that one of the pages had been ripped out prior to shipment by either a Sharon Tate or Mamie Van Doren Fan working for The Book Depository. The issue was quickly resolved and I was promised a pristine new copy so my inital annoyance quickly made way to an ironic acknowledgement that even in the year 2012 these ladies still literally have pin-up appeal.

All those list-style books by their nature have omissions and for me it is unfathomable that Jacqueline Bisset doesn't even appear to warrant a single name check in one of the overview chapters. Still even with that omission this book is just as glamorous and gorgeous as the ladies it portrays though maybe not quite as in-depth and essential as the magazine it spawned from.

A Foreword is provided by Roger Moore.







Saturday, November 19, 2011

The Unknown Peter Cushing: An interview with Michael McGlasson



More than six years in the making, The Unknown Peter Cushing explores the life and career of Peter Wilton Cushing with a focus on his familial acting legacy from grandfather Henry William Cushing, Peter's early stage career, and his life with his beloved wife Helen Beck Cushing. Often described as "The Gentle Man of Horror," Peter Cushing was much more than an actor, for he was also a talented painter, model maker, author, a lover of books and literature, and a poet. The Unknown Peter Cushing reveals facts about Peter’s acting ancestry via a journey through time from the early 1700's and up to Peter’s early days as a stage actor when he met his Helen, the guiding force of his life and the source of his creative spirit.

Michael McGlasson, the author of the book, has kindly agreed to a little interview for the readers of this blog.

HH: Michael, can you introduce yourself to our readers? What's your background and what other publications have you been involved in in the past?

MGM: I've been writing in some capacity for more than forty years, but it wasn't until about the late 1980's that I began to take writing seriously. At first, I sort of stumbled around in the dark because I couldn't decide which path to take. I wasn't sure if I wanted to write academically (which I still do) or stick to short stories, poetry, screenplays, and the like. Since I've always been a great fan of horror films, going back to the late 1950's, I figured that maybe I could write about the movies. Of course, people like David J. Skal and William K. Everson were way ahead of the game, so I decided to start doing research on horror film actors that others had kind of ignored. By the late 1990's, my interest in Peter Cushing had grown considerably, and after reading his Autobiography, I became fascinated with his ancestral past. At about this time, I ran across Christopher Gullo through his Peter Cushing Museum and Association website. To my great surprise, I found out that he was writing a biography on Peter and then we sort of got together and one thing led to another. I ended up editing his book In All Sincerity. . . .Peter Cushing and we became great friends. Outside of the movies, I've had material published in academic journals on Edgar Poe, Bram Stoker, Christopher Marlowe, and Sir Henry Irving, plus some poetry and few articles in the Journal of Dracula Studies. One of my poems is slated to appear in The Spirit of Poe anthology by Literary Landmark Press. All of the proceeds from the sale of this anthology will go to help save the Edgar Allan Poe House in Baltimore which the city plans on closing because of budget cuts.

HH: How would you summarise your book to potential readers? What would you say is its unique selling point?

MGM: Well, first of all, the book is not a true biography because I only cover Peter's life and career from the time of his birth in 1913 and up to the death of Helen in 1971, just like Peter's autobiography. However, the chapters on Peter's early ancestor John Cushing and his grandfather Henry William Cushing are heavy in biography. What I've discovered about Peter's grandfather should appeal to most readers and I hope they see the connections between Henry Cushing and his grandson. I guess that anyone who likes Peter Cushing the actor would find the book a good read. I should mention that 90% of the information in the book on Henry Cushing has never been published anywhere except of course in the original source material.

HH: With its strong emphasis on Cushing's genealogical family history, this is a very unique publication but would you recommend it as an introductory book for a beginning Peter Cushing fan? What do you see as your target audience?

MM: I would recommend that anyone interested in Peter Cushing should read his autobiography first and then read the book. My reason for saying this is because at least they would have some familiarity with Henry Cushing, due to Peter's brief but fascinating account of his grandfather and other acting relatives in the first chapter of his autobiography. As to the audience, my intention was not to target any one group, such as lovers of British theatre or Sir Henry Irving. If you happen to be a fan of Peter Cushing, then I guess that's the target audience.

HH: It is obvious that this was painstakingly researched. Can you describe the research process from the first idea to the final product? What resources were made available to you? Are there resources you wish you'd have had access to but didn't?

MGM: The first time I read Peter's autobiography, I became fascinated with his family acting past. What little information Peter provides about his grandfather Henry Cushing, his aunt Maude, step-uncle Wilton Herriot, and the long-lost "Uncle Bertie," was enough to get me started. So I began digging for more information. I contacted libraries, special collections, bought books on Ebay and from other booksellers; I also bought a short-term subscription to the web-based The Era and The Stage, two theatrical newspapers that were popular during Henry Cushing's stage career at the Lyceum. These two sources gave up more than I had imagined. First I found Henry Cushing's obituary, then his funeral notice. Then I started looking in the London Times that provided information on the plays that Henry Cushing performed in at the Lyceum. Then I discovered his opera career. One thing led to another, and soon I had a foot high pile of information. Of course, Christopher Gullo helped out with some special items. Unfortunately, I could not uncover a photo of Henry Cushing. Sure would like to know what he looked like! Maybe Peter in the flesh! Also, Joyce Broughton supposedly owns some of Peter's personal family items, but she told me most of it was gone. Sold I guess or given away. If I would've had the money, I would've flown to London to start digging in the British Library and its excellent newspaper library which also helped out with the book.

HH: What was the most challenging part of the research and how did you overcome it?

MGM: The hardest thing was taking all of the information I had found and making sense out of it. All of the information just piled up and trying to sort through it all, keeping things in order like dates, places, names, etc., was pretty damn hard. It took me at least a couple of months to read it all and then arrange it chronologically. Fortunately, I was already familiar with Sir Henry Irving which helped greatly. All it really takes is time and enough dedication to putting it all down on paper in a way that people will understand it.

HH: Had you done genealogical research before? Maybe for your own ancestors?

MGM: Not really, but I did some research on my own family history several years ago. It takes a special talent to be able to sort through thousands of documents and pinpoint what you really are looking for. As to my own ancestry, Scotland is home base. In Gaelic, my surname means "Son of the Grey Lad." Also, I discovered that my Scots ancestors did not belong to a specific clan; they had their own clan, their own tartan, and heraldry. The most exciting, or maybe I should say depressing, thing was that all but one of the male members of the McGlasson clan were killed at the Battle of Culloden in 1746 between Bonnie Prince Charlie and the Royal Troops of King George II. The only surviving male member left Scotland and settled in Virginia in 1750. So my American heritage goes back more than 250 years.

HH: In your personal opinion: Do you believe that there is a connection between our ancestors and ourselves? Can the “spirit” (for lack of a better word) of our forefathers influence our personality or choices? Some of the similarities between Cushing's history and some of his ancestors are quite striking: Do you believe these similarities are ultimately random or in some way predetermined?

MGM: Like I mention in the book, Peter certainly knew when he was a young boy that he wanted to be an actor. He even mentions his "lineal blood" stirring within him. Without a doubt, the actions of our ancestors greatly affect ourselves, meaning that whatever an ancestor decided to do at some point in his life, such as pick up arms against the King of England and die on the battlefield, affects the future lives of his ancestors. I don't believe in fate or destiny, nor do I think it's random. Perhaps pre-determined but only mathematically. The big wheel in the sky keep turning and sometimes it stops at just the right point in time. It overlaps with the past and things tend to happen again. But it is eerie in many ways.

HH: Do you have any new projects up your sleeve?

MGM: I've decided to take a very different path through Robert Frost's "lovely, dark, and deep" woods this time around. My next project will be on Linda Lovelace. Yes, I know what you're thinking--"Are you nuts?" Well, maybe. But this will really be a challenge because of the lack of solid and reliable primary sources on her life and career as an "actress." Should be a lot of fun.

Thank you for discussing your book The Unknown Peter Cushing, now available at Amazon, Barnes & Noble, Bear Manor Media, and other book sites.

Sunday, October 16, 2011

Flesh & Blood – The Review

I used to love comic books with a vengeance. And why wouldn't I? They got stories, dialogue, visual effects and cinematic angles just like a movie. In actual fact without real budgetary restraints they could cheaply tell stories that would break many a Hollywood studio's financial back. Given all the technological advances over the last one or two decades there should be a glut of fascinating material out there right now.

Yet for the most part I have given up reading current series.

I was raised with both the US superhero series as well as with a number of European (mainly Franco-Belgian) comic artists. Now that I am living in Ireland I have unfortunately lost track of recent developments “on the Continent” and with regards to the US stuff I have over the years unsubscribed from all of my favourites. Even friendly neighborhood Spiderman doesn't get a look in anymore after “One More Day” too many leaving me with fond memories of Bronze Age comic books that often were far more adult and ground breaking in their approach to story telling than many of the allegedly mature material out there now.



Even more importantly, they did tell stories properly! Little annoys me more in modern comic books than seeing superheroes fight it out over umpteen issues without any proper development. There was a time when it took me a good half an hour to read the 20+ pagers. Now I am glad if I manage five minutes of unimpressive reading time with them.

So have I completely given up on current comics?

Nope, there are some small pockets of resistance around fighting valiantly against the blandness that permeates the industry at large. Chief among them are artist Neil Vokes and writer Robert Tinnell. Then there is also Monsterverse, a new publisher who has recently impressed with his series of Bela Lugosi inspired Tales From the Grave.


With Flesh and Blood the three have now joined forces for what promises to be a very enjoyable Gothic Glamour ride. The first part of the saga is scheduled to be out in the next couple of days. Interviews with the two creators can be read here and here.

When I first heard about Flesh and Blood the idea was presented as a Hammer movie inspired comic book adventure from fans for fans leaving me with an equal amount of anticipation and reluctance. Anticipation because I love all things Hammer. (What a surprise!) Reluctance because Hammer for me is clearly rooted in the past and I don't particular relish the idea of simple rehashes. This is the year 2011. So please give me something that has a similar feel to the classics but with a modern take to it.

I shouldn't have worried.

Flesh and Blood is all that I hoped for and more.



Following the killing of Carmilla Karnstein, a motely crue of heroes and anti-heroes join forces in an epic power struggle against Evil lead by the one and only Prince of Darkness, Dracula.

The comic has all the characters one would expect from a Hammer (or indeed even a Universal) Monster Mash: Carmilla, Dracula, Frankenstein and a Werewolf. Even lesser known characters like General Spielsdorf from The Vampire Lovers are referenced. And, yes, we even get Van Helsing though in a nice twist not in any form you would have come across before.

Yet though aspects of it will feel familiar to Hammer Fans this is a totally independent story that may borrow from the Hammer mythology and imagery but then develops into something completely unique. The closest point of reference would probably be Kill Bill, a movie that was clearly influenced by a number of Tarantino's favourite genres (Martial Arts movies, Spaghetti Western etc) but then created an artistically unique vision of that world. And though it is fun for the hardcore fan to identify all those points of reference, the movie can be enjoyed without having ever seen a single one of those productions.

Same in Flesh and Blood.



As a Hammerhead I rejoice in identifying panels that were inspired by Frankenstein and the Monster From Hell, character names drawn from the Hammer talent pool (Mr Ward-Baker) or lines of dialogue lifted from Hammer movie titles (“Frankenstein Must Be Destroyed”), yet none of that is essential to the enjoyment. The comic lives and breathes on its own. If you like classic horror stories with a modern twist, then this is for you.

The art work is simply stunning. The only other current artist who draws female characters as sensually as Vokes is Bruce Timm. And ironically both are huge Hammer Fans and have contributed to Little Shoppe of Horrors. Just goes to prove what a positive influence these flicks have on an artist's development.

I have rarely ever seen a comic where every single panel is a little masterpiece that I wouldn't mind have hanging on my walls. The imagery is glamorous, voluptious, moody, atmospheric, haunting and drenched in Bava-esque colours. Truly magnificent.


I am reluctant to reveal too much about the story and the teaser panels really speak for themselves. Suffice it to say I am definitely along for the ride. Books like these finally bring that good old comic loving feeling back to me and have me curled up and fully immersed!

It's the first installment in what promises to be an epic adventure with three more volumes following until the conclusion is reached after a total of 320 pages. No doubt Messieurs Vokes and Tinnell have a lot more surprises and gorgeous imagery left in store for us. This is the kind of material that New Hammer should be making if they were really serious about carrying on their tradition.

In the meantime, however, we have Flesh and Blood.

Saturday, October 8, 2011

Flesh & Blood – An interview with Robert Tinnell

This is the second part of our Flesh & Blood cover this weekend. The first part, an interview with Neil Vokes, can be found here. A proper review of the comic book is in the works and should show up over the next day or two.

I provided the same questions to Robert Tinnell, the comic's writer.

I also know Bob from round about the same time that I met Neil as those two were hanging out in the same murky corners of the Internet chatting up Hammer, Eurotrash and all things cult.

My first experience with one of his works, however, was way back when I was still living in Germany and saw Surf Nazis Must Die for the first time. He was the producer for this Troma movie and at the time it was still possible to shock some of my German countrymen with the concept of Surfer Nazi Dudes Who Have to Pass Away as that idea was still a wee bit offensive then and some of my folks were still suffering from bouts of collective guilt.

Happy memories.

He also produced the award-winning and David Fincher directed Paula Abdul video for “Straight Up”. A quick look at IMDb reveals his true range. Prior to working as a producer he also was a production manager in some of Fred Olen Ray's movies (The Tomb, Armed Response, Prison Ship) before establishing himself as a writer/director (Frankenstein and Me, Kids of the Round Table). Frankenstein and Me already foreshadowed the Hammer slant that is also dominating Flesh & Blood.

With Neil Vokes he worked together for the Black Forest and Wicked West comics books. Tinnell also wrote Feast of the Seven Fishes which was nominated for the Eisner Award, EZ Street and The Chelation Kid.

Together with artist Ade Salmon he created the amazing The Faceless: A Terry Sharp Story for which he is currently writing a follow-up that I am awaiting probably just as eagerly as the remaining Flesh & Blood parts.



Your new comic book collaboration Flesh & Blood will be out later this month. I know of a bunch of guys who are eagerly awaiting this (myself included) but what would be your elevator speech if you met someone who hadn't yet heard about this?

ROBERT: I think FLESH AND BLOOD is the monster rally fans of ‘50’s/’60’s/’70’s British horror wanted to see and never got. When Universal did their rallies the films were very much rooted in German expressionism and a sort of never-never-land quality. Our approach is more grounded in Gothic literature – in the same way the movies that inspired us were grounded in the same. And of course, FRANKENSTEIN MEETS THE WOLF MAN definitely did not have nudity. Plus we’re doing the book at Monsterverse who are setting themselves up to be a real force in horror comics – which, if you know anything about Kerry Gammill and Sam Park, is a no brainer. They are passionate about the medium and you’ll never meet two bigger monster geeks.

Flesh & Blood is not the first time the two of you have worked together. Previous collaborations include The Black Forest and Wicked West books. Can you describe how the creative process works between the two of you? Are you living relatively close by or in different parts of the States? How often do you get to meet in person during the creation of such a book and what major challenges are involved in this process?

ROBERT: Some years we see each other more than others – and at times we’re on the phone frequently. Although of late, my schedule has been so hectic we don’t get to talk nearly enough. But the thing is – our sensibilities and inspirations are so intertwined that it’s a fairly effortless process as far as collaborating goes. If you read my scripts to Neil, often they’ll digress into “can you draw this like the scene from so-and-so film?” and he’ll know immediately what I mean. But before we start anything we usually get on the phone for hours and riff. The other aspect to our working relationship that makes it successful is that we’ve now done so much work together that I’ve learned to write to Neil’s strengths. When I’m writing FLESH AND BLOOD I’m seeing it laid out as I know Neil will do it. And I’m rarely surprised.

How did the two of you meet for the very first time? And was it love at first sight? ;-)

ROBERT: We met at a Fanex convention many years ago – mid-to-late ‘90’s. But we never discussed collaborating for quite some time – I bet it was a good five-six years before we decided to do The Black Forest. Originally, we were just guys who enjoyed hanging in the bar talking films and comics. It honestly never occurred to me to ask him if he’d work with me. And then he was talking to Todd Livingston and me in the bar at a con one night and we told him about our idea for THE WICKED WEST – and that was originally what we were gonna do first. But then he decided he wanted to do THE BLACK FOREST – which we had written as a screenplay. Neil just does what he wants so - we did that first.

Though Flesh & Blood is an entirely original adventure lots of references to the old Hammer Horror movies can be discovered. In actual fact it often feels that this is the type of story New Hammer should have adapted if they had followed in the footsteps of Terence Fisher & Co. What is your own personal relationship with the Classic Hammer Horrors?

ROBERT: I remember my first exposure to Hammer was when KISS OF THE VAMPIRE was gonna be on TV. My mom wouldn’t let me watch it. And the imagery haunted me. It was a few years later – on a stormy afternoon – my brother and I watched Horror of Dracula – and freaked out. As time went on we started seeing more and more of these films – and I started recognizing the actors – not just Cushing and Christopher Lee but even folks like Michael Ripper and Veronica Carlson – and then eventually the name Hammer. And we started to seek them out. I was particularly inspired by Peter Cushing. As an actor, of course, but more by the types of characters he played. The smart warrior/scientist/monk guy – whether he was Van Helsing or Sherlock Holmes or even – or should I say especially – as Frankenstein in FRANKENSTEIN CREATED WOMAN – I particularly loved that take on the character. And, of course, I loved the women in the movies. Why lie? As I got a little older I got into horror movie magazines like THE MONSTER TIMES and fanzines like PHOTON and GORE CREATURES and LITTLE SHOPPE OF HORRORS. Plus David Pirie’s brilliant study A HERITAGE OF HORROR which blew my fourteen-year-old mind and really opened me up to Gothic literature and film criticism and the codes and rituals and themes that ran through these films. Ruined me.

What are your favourite Hammer films and why?

ROBERT: HORROR OF DRACULA is my favorite. The elegance – the economy of storytelling – and the skill that Fisher brings to the direction – married I’m sure to my nostalgia for the way it shot a lightning bolt through my heart – all make it so important to me. A close second would be FRANKENSTEIN MUST BE DESTROYED. It’s a virtuoso piece of filmmaking, in my opinion. Creepy – subversive – Fisher at the peak of his powers. I do like FRANKENSTEIN CREATED WOMAN for the reasons mentioned above. BRIDES OF DRACULA is marvellous – and I’ve grown to appreciate DRACULA, PRINCE OF DARKNESS more and more through the years – it got some really suspenseful sequences. I love THE DEVIL RIDES OUT and THE VAMPIRE LOVERS. I think THE MUMMY holds up well. Look I love all the good ones! And tolerate many of the bad! And by the way, I haven’t even mentioned the Quatermass stuff – love them. Kneale’s approach was very much on my mind when writing the OPERATION SATAN back-up story that Bob Hall is drawing - the lead character in that will eventually enter the FLESH AND BLOOD storyline…

Any guilty pleasures (with regards to Hammer)?

ROBERT: Of course – LUST FOR A VAMPIRE. In spite of its flaws I think it’s entertaining as hell.

Say Hollywood came calling and Flesh & Blood was going to be adapted who would you like to see star and direct?

ROBERT: I think it would make an awesome mini-series – it’s too epic for one movie. But that being said – Guillermo Del Toro, obviously. Guy Ritchie. Someone who understands the genre but also recognizes our efforts to make characters into something more than cartoons.

I may be oversimplifying but some of the main differences between the US and non-US (in particular European) comic books appear to be that American comics for a large part are geared towards the monthly 20+ page market whereas a lot of the European material is allowed a much larger scope right from the start. I am in particular thinking about the works of Jacques Tardi, Milo Manara, Hugo Pratt etc. When reading your comics I often sense more of an auteur feeling along those lines. Am I talking through my arse? As writer and illustrator what are your influences and are you actually inspired by non-US comic book creators?

ROBERT: Calling myself an auteur would probably result in my getting eviscerated by outraged auteurs everywhere! Now, it is true that some of my films seemed to be better received in Europe – I just don’t want that “we’re huge in Denmark” label, you know? There are comics that have greatly influenced me that originated elsewhere. Lone Wolf and Cub. A lot of stuff Vertigo was putting out in the early ‘90’s that had a decidedly English sensibility. Years ago my buddy, Andy Sands, turned me on to Strontium Dog and it blew my mind. The storytelling is compact yet so evocative. Having said all that – there are themes and ideas I like to explore beyond just being a slave to plot and whiz-bang stuff. God knows I go back to Frankenstein enough. Tim Lucas does a pretty good job of analysing me in the intro to Flesh and Blood and I must admit it gave me pause and some newfound insight into my storytelling.

Writer, Director, Producer. How do you mainly define yourself and are there any special projects you have not yet tackled? What would you rate as your most personal project to date?

ROBERT: I’m actually starting to think of myself as “storyteller” and no longer let any particular medium define me. If anything I’m thinking about other things I’d like to do outside of film and comics. Stuff like installation pieces. I went crazy for vegetable gardening and I kinda view my gardens as art. Which is weird I supposed but it makes sense in my head. A friend recently described my gravitation towards maybe creating some installations as a desire for permanence. Like I have this crazy idea. There’s a tiny creek on my farm and I want to divert a little waterfall there – just long enough to create an Arthurian mosaic of the Lady of the Lake on the bottom. Then restore the flow. And not tell anyone. Just see if they ever see it. And before anyone gets riled up – I am devoted to restoring the ecology on my land – don’t want to trash anything or harm the ecosystem. But I do want to do this one little thing. Don’t know why – it just appeals to me.

As far as super personal? Probably FEAST OF THE SEVEN FISHES and EZ STREET are my two most personal comic works. I know the latter drove my wife crazy. Although in a weird way FLESH AND BLOOD is very personal. In film, both KIDS OF THE ROUND TABLE and FRANKENSTEIN AND ME. But there are bits and pieces of my personality and concerns and interests that run through all my work. Again – I’d defer to Tim Lucas.

Any memorable stories about Surf Nazis Must Die you would like to share?

ROBERT: It all goes back to SURF NAZIS MUST DIE, doesn’t it, Holger? It will be etched on my tombstone. The entire process of making that film was such a happy, positive one. Peter George, the director, remains a good friend as does Jon McCallum, who composed the music. We worked really hard – and probably played a little too hard – and it paid off. When people ask me what I remember I usually go back to Peter wrecking the boat near the end of the shoot or the impromptu football game we had one night after wrap. Lots of aggression got worked out that night…

Last but not least: I hate the term “graphic novel”. What's wrong with calling a comic book a “comic book”? Discuss!

ROBERT: For me, I perceive the term graphic novel as pertaining to length – not quality. That’s not much of an answer, I know, but it’s the way it works in my head. I happily tell people I write comics.