Today’s Super Coven changes the Frogman’s life FOREVER: http://www.super-coven.com/comic/all-documented-all-true-page-38/
Lurid. Weird. Fantastique.
My Webcomic: Super Coven
My blog: Love Train for the Tenebrous Empire
Questions: Ask me.
Today’s Super Coven changes the Frogman’s life FOREVER: http://www.super-coven.com/comic/all-documented-all-true-page-38/
I think the world of genre storytelling hinges on reusing ideas, tossing them into the brain-blender and seeing what comes out. The whole idea of a remake is really a marketing construct, as opposed to a creative one (in my opinion, anyway), because genre movies are by their nature reusing, recycling and re-combining ideas. Take “Return of the Blind Dead” for example—I could pitch that as “‘Night of the Living Dead,’ but in Portugal, with more occult nonsense.” I could reasonably see the lack of a European setting and the absence of Satan as flaws in NotLD corrected by de Ossorio’s “reimagining” but I would get screamed at (because that’s not the way “we” look at that movie).
I guess what I mean to say is that as I get more involved in my own creative process more regularly, I realize that the fatal flaw thing isn’t the most productive way to look at a movie. I am trying to engage with movies (when I get to watch them, which is infrequent these days!) on a level where I’m trying to get the good stuff out of them, rather than getting turned off by the things that I’d change. That’s not to say I don’t get frustrated, but I acknowledge that my taste is so very, very fallible and only represents one way of looking at a particular piece of work!
[made rebloggable by request!]
nixskits asked: Are there any films you felt had a fatal flaw in them which warrants a remake today? Any specific director you think could improve on a certain title?
I think the world of genre storytelling hinges on reusing ideas, tossing them into the brain-blender and seeing what comes out. The whole idea of a remake is really a marketing construct, as opposed to a creative one (in my opinion, anyway). because genre movies are by their nature reusing, recycling and re-combining ideas. Take “Return of the Blind Dead” for example—I could pitch that as “‘Night of the Living Dead,’ but in Portugal, with more occult nonsense.” I could reasonably see the lack of a European setting and the absence of Satan as flaws in NotLD corrected by de Ossorio’s “reimagining” but I would get screamed at (because that’s not the way “we” look at that movie).
I guess what I mean to say is that as I get more involved in my own creative process more regularly, I realize that the fatal flaw thing isn’t the most productive way to look at a movie. I am trying to engage with movies (when I get to watch them, which is infrequent these days!) on a level where I’m trying to get the good stuff out of them, rather than getting turned off by the things that I’d change. That’s not to say I don’t get frustrated, but I acknowledge that my taste is so very, very fallible and only represents one way of looking at a particular piece of work!

Rosalba Neri photo-feature from Italian magazine Playmen (!) featuring the outfit (if that’s the right word) she wore in 1969 film Top Sensation.
Photo by arnold_daniel on Instagram
An Instagram so good it could be a still from a movie I’d love to watch.
I’ve been doing some blogging over on the Love Train if you’re inclined to enjoy strange and varied topics.
Brooklyn Zine Fest musings and haul report!
Horror soap opera nonsense on “Hemlock Grove!”
The best six and a half minutes of Turkish knock-off movies!
Visit my blog here:
Love Train for the Tenebrous Empire » Lurid. Weird. Fantastique.
Jack does some incredibly creative stuff with old-school-styl e RPGs. Planet Motherfucker is his take on an occult lowbrow setting and it’s pretty damn fantastic.
Read about the campaign here: Tales of the Grotesque and Dungeonesque: Welcome to Planet Motherfucker
Art by David Hartman for Rob Zombie