masters of horror

The Masters of Horror. These are the genre filmmakers whose work have made generations of filmgoers not only fall in love with horror but have left a permanent imprint on movie history and popular culture. One need only look at small selection of the greatest hits of these filmmakers to see their undeniable impact.

Of course, the title of “Master of Horror” can be open to interpretation but the official title came from when horror-hero filmmaker and genre ambassador Mick Garris began bringing together a group of the genres most iconic filmmakers for dinners at various Los Angeles restaurants. It was one of the masters himself, Guillermo del Toro, who created title when wishing a nearby table a happy birthday. “Happy birthday from the Masters of Horror!”

Some of the regular participants and holders of the “Master” title include but are not limited to John Carpenter, Tobe Hooper, Stuart Gordon, John Landis, Joe Dante, Don Coscarelli, Larry Cohen and Tom Holland. Multiple other “masters’ attended but this group and our guest today seem to be the core “masters”.

In this episode we will be sitting down with one of the true titans of terror, William Malone.

William talks with us on his early love of the “Creature from the Black Lagoon” and “Forbidden Planet” and how he almost did remakes for both, his beginnings at famed mask creator Don Post Studio where he sculpted the original Michael Myers mask, demystifying the incredibly talented but let’s say troubled actor Klaus Kinski and why making movies is both revealing and embarrassing.

William Malone’s films share the same quality of most great directors’ bodies of work in that their style and vibe carry the unique qualities that are the signature of the person behind the camera. You know a William Malone movie when you see it! Whether it’s his early monster movies “Scared to death” or “Creature” or his now classic remake of “House on Haunted Hill” or the nerve frying “Feardotcom”, William continues to be one of the genres sharpest eyes and clearest voices. 

So, let’s a grab a seat at the table and listen in with Master of Horror William Malone!

Many of our listeners are likely to be familiar with the Italian masters of horror Mario Bava, Dario Argento and Lucio Fulci. These three filmmakers reign supreme on not just their home turf but around the world with iconic films such as Bava’s “Black Sunday”, “Black Sabbath” and “A Bay of Blood”. Argento’s “Deep Red”, “Suspiria” and “Inferno”. And Fulci’s “Zombie”, “City of the Living Dead” and “The Beyond”. All classic genre films that have endured and remain as taught, shocking and inspired as well as inspiring for generations of audiences and filmmakers. 

But what exactly is a “giallo” film? What are the sensibilities of these filmmakers and their fellow European genre maestros that gives them such a different energy than American horror? Why can’t contemporary filmmakers recapture that “giallo” style?

On this episode, our guest is author and film historian Troy Howarth.

To call Troy an expert on giallo films and European horror is putting it mildly. Troy has written multiple extensive and revealing books on these films and the auteurs behind them and you have likely seen or heard him in the special features section either in a documentary or commentary on some of the lavish rereleases of some of these classic movies as well as the less obvious ones that are finally getting their time in the sun.

We love Troy’s writing. Always illuminating and thoughtful. This is a man who has not only done his homework but whose love and appreciation for the artists and their work is front and centre.

So, pull some black gloves on and don’t worry about the dubbing… it’s time to delve into the world of European horror and giallo films with Troy Howarth.

This episode is the second part of our in-depth discussion with director Anthony DiBlasi. If you haven’t heard the first part, we recommend you do. This isn’t a sequel, it’s a continuation. Like “Stephen King’s It Chapter 2” or “Kill Bill Volume 2” or “Twilight: Breaking Dawn part 2”… Twilight is awesome.

Oh, and another bit of business, we have a very special event happening next week. We will have a new episode every day of that week in celebration of a beloved horror franchise that is finally returning leading up to an exclusive group talk with the director and stars. This is our biggest Spill Your Guts project to date and we can’t wait for you to see the surprises we have in store. We will have more to share with you in a few days. It has to be just right or we will suffer dearly for it (that may have been a hint…)

Without further delay, part 2 of our discussion with Anthony DiBlasi! 

Remakes and reimagining’s get a bad rap. Though there have been many lousy ones (people still puzzle over Gus Van Sant’s shot-for-shot “Psycho” remake) there’s also many that are now classics.  

John Carpenter’s "The Thing", David Cronenberg’s "The Fly", Philip Kaufman’s "Invasion of the Body Snatchers", Gore Verbinski’s "The Ring, William Malone’s "House on Haunted Hill" and Zack Snyder’s "Dawn of the Dead". All inspired takes on classic films.

What makes these examples work whereas others (here’s looking at you Elm street remake) feel like tired retreads? It seems like it has a lot to do with a filmmaker who has a new lens to see the story through. Carpenter didn’t just rely on the special effects (though they sure are special) for his take of “The Thing”, Cronenberg wasn’t content to just rely on a cooler looking fly, Kaufman knew it would take more than bigger body snatcher crowds. You get where we’re going with this. There’s a connection between the filmmaker and the material for all these films that’s evident in the movies themselves. 

Our guest today can be added to the list of filmmakers whose reimagining works because there is a clear connection between the filmmaker and the world he’s creating.

PLOT TWIST… he’s reimagining his own movie.

In 2014, a film about a rookie cop’s night at a soon-to-be-shuttered police station that becomes a descent into hell became a sleeper hit. The film was “Last Shift” and it has just been reimagined in the form of the new film “Malum” by its creator, our guest in this episode, writer/director Anthony DiBlasi.

When I asked him about returning to the world he created with “Last Shift”, Anthony told me “I think the remakes that work are the ones that are really treated like reimaginings. They took the core of what was cool with the original and expanded on it. Almost as if it were a sequel to the original. What Aliens did for Alien. That’s what we wanted to do with Malum. Explore what we couldn’t in the first one because of resources, but also dive deeper into a mythology we barely touched on in the original. Build on the elements that work while also improving on the ones that didn’t.”

Anthony also delves into the years he worked closely with horror icon Clive Barker, how dealing with MPAA interference and studio meddling is basically trial by fire and adapting one of Barker’s stories for his film “Dread”.

Our talk with Anthony is a proper deep dive covering all his genre films so we will be dropping it in two parts.

So remember, nothing is what it seems and the darkness is going to be staring right back at you while we explore the work of Anthony DiBlasi.

This episode is a bonus from our interview with Chris Alexander. This section was removed for length and because we wanted to keep the main episode focused on Chris' work and career but its a fun look at the most overlooked and underrated film of the past year and we even brought Chris back to add some further thoughts and keep it up to date. So though it didn't fit with the interview proper, we thought fans of SYG would still want to check it out. We hope you enjoy it!

The horror genre has had many great ambassadors.  Acclaimed writers, actors and filmmakers who wear their horror badge with great pride. Folks such as Ray Bradbury, Forrest Ackerman of Famous Monsters of Filmland and Job Bob Briggs to name a few. These are talents who have not just worked in the genre but used their place at the podium to consistently champion it.

Any horror fan is of course well aware of Fangoria magazine. The beloved publication has graced newsstands with its often-gory covers and all your favourite monsters since 1979. For many fans of what our guest today refers to as “freaky films”, Fangoria is the last word on all that is great and gruesome. Though the magazine is still going strong (a testament to its status as horror magazine supreme when you consider the many well-regarded publications that have not survived the advent of news sites and social media), Fangoria has had its ups and downs. 

In 2009, the magazine was transitioning from one of its great editors, Tony Timpone, to a new voice. This new editor would not only shake things up at Fangoria in what would prove to be one if its best runs in the history of magazine, it was also how many came to know one horror’s greatest ambassador’s. 

Our guest today is Chris Alexander.

Chris is not only a great writer and an expert (a term he will likely hate to hear himself described as) in the genre, he is also a visionary filmmaker, a skilled musician and composer and one of the most robust speakers on all things freaky.

Chris sat down to discuss the beginnings of his writing career at Warner Brothers and Rue Morgue Magazine, visiting Nicholas Cage on his island (that’s not a turn of phrase), what it is to be a horror fan in our current film climate and getting to know the late legend George Romero.

We love talking with Chris. He speaks quickly and concisely and always says things that leave us thinking. He’s a lot like the movies we discuss in that way, you know it was a good one because it leaves you something to think about. He’s also incredibly funny and now works with one of our horror heroes Charles Band at Full Moon Features.  

A couple notes on this interview, Chris was struggling with a nasty bout of covid when we recorded so he sounds a little horse. Also, we have removed a section where Chris talks about undervalued contemporary horror films because the interview was simply too damn long. This will be dropping as a bonus later this week so be sure to check it out. It’s filled with recommendations for some films that might have gone under your radar.

Okay here we go, let’s get into the freaky and fantastic with Chris Alexander! 

On television, genre anthology shows have a special place in the hearts of horror fans. Of course, there’s the timeless and enduring “The Twilight Zone” and later the beloved HBO series “Tales from the Crypt”. Along the way you have some solid entries such as “Tales from the Darkside” and “Masters of Horror” but in 2011 Ryan Murphy’s “American Horror Story” became a smash hit and anthology horror was back in business.

However, in 2016, it was a Canadian series that truly raised the bar for anthology genre television.

Equal parts classic 80’s gore fest, Agatha Christie whodunit and sharp character piece, this series has kept audiences on the edge of their seat for four terrifying seasons.

The series is “Slasher” and joining us for this episode are the show’s creator Aaron Martin and Showrunner/writer Ian Carpenter.

“Slasher” has steadily become a fan favourite and it’s easy to see why. With a recurring top-notch cast, razor sharp writing that earns every twist and turn without the audience ever feeling duped and inventive death scenes that would make Jigsaw jealous… well this is a series that understands horror and most importantly, respects it.

Having just launched their fifth season on Shudder titled “Slasher: Ripper” set in a period era Toronto and featuring some familiar faces from prior seasons and another bit of casting genius (season 4 featured a scene stealing role for legend David Cronenberg), this time with comedy great Eric McCormack, “Slasher” continues to up the ante ever entry. It’s a show that has sliced and diced its way into the hearts of many horror fans and earned its way into the horror television hall of fame.

Aaron and Ian talk on the beginnings of “Slasher”, why it’s as much Agatha Christie as it is 80’s slasher nod, how to execute a fair whodunit and why they keep killing Jefferson.

So, remember, everyone’s a suspect, there’s no such thing as “too much guts” and no one is safe as we enter the world of “Slasher” with Aaron Martin and Ian Carpenter.

In 2006, a new horror icon was born. Fatigued by the endless defanged remakes and sequels of the time, lifelong horror fanatic Adam Green set out to create a new unstoppable killer very much in the mold of beloved slasher superstars Michael Myers, Freddy Krueger and most of all, Jason Voorhees.

In fact, his film would not only feature such genre royalty as Robert Englund and Tony Todd but Jason himself, Kane Hodder as the films deformed giant, Victor Crowley.

Green’s film, set in the New Orleans swamps where an ill-fated tour boat is wrecked and its passengers are left stranded with much more to worry about than alligators, was a spot-on love letter to 80’s slasher classics. 

As you have probably guessed by now, that film was “Hatchet”.

Filled with insane gore set pieces, hilarious dialogue and a totally game cast, the movie succeeded in creating a new franchise and has so far been followed by 3 sequels. Only one actor other than Kane Hodder has appeared in every film in the series. A scene-stealer with many of the best lines in the series, this actor has cemented himself as a fan favorite.

Our guest today is Parry Shen.

Parry is a busy man. He loves to work and one need only check out his IMDB profile to see he has had a rich and varied career as an actor. From a starring role in Justin Lin’s critically acclaimed crime drama “Better Luck Tomorrow” to a series regular on “General Hospital”, to his many credits as a voice actor - Parry cannot be stopped. And who would want to? He’s a welcome presence in anything he’s in. Terrific timing and presence to boot.

Parry has made a name for himself with genre fans with credits in “Buffy the Vampire Slayer”, Full Moon’s “Shrieker” and “The Hazing”, but it was his work in the “Hatchet” series that has cemented him as a genre name.

Parry talks with us on some of the challenges he has faced as an Asian American actor and how the business has changed, the pitfalls of confusing being strategic with your career to being perhaps more particular than you can afford to be and how his love for the movies means he’s always the consummate professional on set but always excited to be there. 

It’s time to return to the swamps and the turf of Victor Crowley with our guide, Parry Shen. 

Imagine your favourite horror movie if instead of yelling at your screen “Don’t go in there!” or “Don’t drop the knife!”, you could actually have the choice to run out of the house or chop the killers head off while he’s lying on the ground pretending to be dead. Horror movies offer a lot in terms of an experience but one thing they don’t offer is choice. For that, we look to genre gaming.

The birth of survival horror in gaming broke out with the success of Capcom’s iconic “Resident Evil” in 1996. This was for many, the first video game that really embraced the influences of classic horror films while offering a gaming experience that was both edge of your seat suspense and exciting action. Not to mention its fair share of camp with memorable lines like “It’s a weapon. It’s really powerful. Especially against living things.” And “I’m sorry for my lack of manners, but I’m not used to escorting men.”

“Resident Evil” has of course gone on to become a horror gaming staple but it also helped create an entire genre of gaming where you make the choices that will keep your character alive until sunrise or… you know, get eaten or decapitated or filleted or impaled or exsanguinated. You get the idea.

And choice offers a level of immersion that is different to film. Gaming is participatory whereas film is more passive experience. In gaming you are affecting the outcome and in a good game, your decisions matter.

One of the most successful examples of survival horror gaming in recent memory is the 2015 PlayStation 4 game “Until Dawn”.

Written by genre legend Larry Fessenden and frequent collaborator Graham Reznick, set in a blizzardy mountain top ski resort, a group of friends (which includes Oscar winner Rami Malek and fan favourite Hayden Panettiere) must survive the night against a masked killer, something lurking in the woods and each other. It’s a wild ride full of twists and turns and particularly effective scares. The game was a surprise hit for Sony and game developer Supermassive Games and has gone on to become a horror gaming classic with people even having “Until Dawn” gatherings where everyone plays the game and decides as a group what choices to make.

The games director is Will Byles.

Will is the Studio Director for England based game developer Supermassive Games. With the success of “Until Dawn”, Will and his team at Supermassive went to work on developing their next big horror title “The Quarry”.

Fully embracing the classic tropes of the summer camp slasher, the game features an all-star genre cast including David Arquette, Ted Raimi, Grace Zabriskie, Lin Shaye and Lance Henriksen and the would-be victims are all played by likeable and engaging young actors. A love letter to many of your favourite woodsy slasher films and filled with truly surprising twists, “The Quarry” was one of the best games of 2022. 

Will’s immense talent and passion for both games and film is felt all through “Until Dawn” and “The Quarry”. These games don’t give the illusion of choice (a cheap trick pulled by many genre games), your choices actually matter and drastically change your experience. Seeing your favourite character who you’ve fought hard to keep alive suffer a terrible fate because you chose to run instead of fight back can be devastating and there’s no respawning. They’re dead… like dead dead.

Will dives into how he developed a passion for developing and creating games, charting out the many different branches the story can follow and how to keep it all making sense and working with actors to create a performance using motion capture.

Take notes if you want to keep your characters alive but remember, if you do, you’re going to miss out some wonderfully horrific death scenes lovingly crafted by one of the masters of gaming horror, Will Byles. 

Many horror fans have been known to describe one of their favourite movies as “underrated”. Typically, it describes a movie that took time to find an audience, was well received by audience and/or critics but didn’t find financial success or were under-seen because of a bungled release by the studio or distributor.

Films like “John Carpenter’s “The Thing”, “The Texas Chainsaw Massacre 2”, “The Exorcist 3”, “The Frighteners” and “TrickRTreat”. All examples of films that didn’t perform when they were first released but found a following over time. Primarily for the simple reason that they are all damn good movies that deserved better.

Let’s add another under-seen gem to the list of greats that deserve more attention than they got.

Released in 2010, “YellowBrickRoad” is a nightmare inducing, reality shattering descent into madness. Part “Blair Witch”, part “Wizard of Oz” … all relentlessly terrifying. Written and directed by team Andy Mitton and Jesse Holland, the film came out to strong reactions from audiences and most critics but despite a theatrical release, came and went with little fanfare.

And yet, as more and more people stumbled upon it over time and word of mouth spread among genre fans, the film has continued to receive a much-deserved re-evaluation. Much like the titular path in the film, this movie has many dark secrets that once unearthed, are impossible to forget. 

Our guest in this episode is filmmaker Andy Mitton.

Andy discusses his background in theatre growing up in Massachusetts, the way his love of horror and theatre found a natural rhythm, why often times a genre filmmakers influences aren’t necessarily horror films (a reoccurring theme for SYG listeners) and his haunting new Pandemic horror film “The Harbinger”.

Andy is a visionary filmmaker with a tremendous eye for detail and a finely tuned skilled for finding the truth in his characters and the actors portraying them. That’s one of the things that gives Andy’s work such resonance. Characters in his films never do what the plot requires of them and you will not find yourself yelling at the screen over their idiotic decision making. 

It’s clear that Andy loves and respects his audience and the stories he is telling.

Under the umbrella of horror, you find many different sub-genres that make up this diverse film genre. From monster movies to slasher films, from the supernatural to giallo, horror has many faces.

In 1999, we saw the emergence of a sub-genre that wasn’t exactly new but certainly had never made such a splash. When three student filmmakers disappeared in the woods near Burkittsville, Maryland while shooting a documentary, audiences had no idea what they were in store for. As the iconic poster ominously revealed, their footage was found.

“The Blair Witch Project” was not only a box office smash, it will also the beginning of a new wave of found footage horror. A sub-genre that allows a fertile proving ground for independent filmmakers not only for its budget friendly framework (usually handheld camera work, no need for elaborate effects or name stars, typically common locations) but also because with the right hook, the found footage sub-genre has the potential to feel more real and immersive then the high gloss films made in Hollywood.

Though there have been plenty of great found footage films since “Blair Witch” (here’s looking at you “Paranormal Activity”, “REC” and “Lake Mungo” to name a few), few have got under my skin as much as the new found footage film “The Outwaters”. The films creator is Robbie Banfitch.

When a group of four friends head out into the Mojave Desert on a camping expedition, we know it’s probably not going to go well for them. However, Robbie Banfitch isn’t content to give us the usual redneck cannibals or ghouls in the hills… oh no. He’s planning to drag us kicking and screaming into the abyss. This film takes no prisoners. It’s steeped in dread and offers no hand-holding.

Robbie delves into what makes the found footage sub-genre so unique, why “The Blair Witch Project” remains as relevant as ever, working with what you have on location and why he’s not a fan of catering to audience expectation.

Charge your camcorder batteries and grab your flashlight as we explore the terrifying world of “The Outwaters” with filmmaker Robbie Banfitch.

FRIDAY, MARCH 10th Kevin Lane's Spill Your Guts (@spillyourguts_podcast) and the Rick or Treat Horrorcast (@rickortreatpod)have collaborated for the first annual DEAD CARPET HORROR AWARDS! Recognizing remarkable contributions to horror cinema that other award ceremonies choose to ignore. All the glitz and glamour but with chainsaws!
Original music by Mike Hadden
Trophy art designed by Ricky Mestre (@rickymestre)

We’ve all heard the stories of an actor who caught their big break walking the dog town the street and catching the eye of a big shot casting director. Or happened to be the kid of a prominent mom or dad. Or booked a major role on their first audition because of plain old fashion good luck and being in the right place at the right time. My guest today is NOT one of those actors. He achieved his success through a tireless work ethic and sheer talent.

Our guest today is Randy Wayne.

Randy is the kind of person working in show business that makes it looks easy. It isn’t, but he makes it look that way. As an actor and producer who has worked predominantly in the horror genre, Randy has played everything from heroes to villains, leading man to supporting. He’s always 100% committed and his versatility has served him well. You’ve seen him in studio horror, indie horror and television horror where he had a recurring role on HBO’s hit “True Blood”.

Randy discusses his beginnings as an athlete who stumbled into acting quite by accident and quickly discovered it was his calling, the joys of location shooting, working with genre veterans like Dee Wallace and Lance Henriksen and preparing for playing a serial killer who loves to drown his victims in “Death Pool”.

Looking through Randy’s credits, it’s clear to see he loves what he does because he keeps a tireless pace. He’s always shooting. Either in front or behind the camera. On top of this, he’s a caring husband and father. 

We don’t really know how he does it but this conversation got us a little closer to figuring it out.

We’re all very familiar with the term “Scream Queen”. Let’s talk some shop with one of the great “Scream Kings”… Randy Wayne.

Odd as it may seem today, there was a time when sequels were considered inferior rip-offs by studios and critics alike. A desperate ploy at milking the success of likely superior original film. Rarely was a sequel directed by the film’s original director (of course there are many notable exceptions such as Evil Dead 2, Texas Chainsaw Massacre 2 and Dawn of the Dead) with the filmmakers having concern that there wasn’t artistic value in returning to the well or that the studio execs would see them as one and done type creatives.

And yet, that didn’t stop many of the genres most successful franchises from soldiering on. Jason, Freddy, Chucky, Pinhead… to name a few. All continued on with involvement from their creators at some level. One of the most resilient has been the Halloween franchise.

The first sequel was written and produced by the creators of the original, John Carpenter and Debra Hill and directed by relative newcomer Rick Rosenthal. The film also saw the return of stars Jamie Lee Curtis and Donald Pleasence and continued directly where the first film left off as Michael Myers’ continued his night of terror. The film was a success and Carpenter and Hill were asked to come up with a third. So, having seemingly killed off both Myers and Loomis in the previous film, they decided to try something different and create a completely new story with new characters set on Halloween. The idea being that if this model worked, you’d have a formula for an anthology Halloween horror film you could release every couple of years. 

It didn’t.

The fans were puzzled and pissed at the absence of beloved villain Michael Myers and the movie soon became persona non grata with fans. That would change over the years as the film, titled Halloween 3: Season of the Witch and well directed by Carpenter pal Tommy Lee Wallace and staring genre greats Tom Atkins and Dan O’Herlihy, would go on to become a fan favorite. Long live Silver Shamrock.

A few years later, undeterred executive producer of the series Moustapha Akkad felt that it was time to bring Michael back. Carpenter and Hill had moved on and stepped away from the series. Who was going to bring back the Shape for another terror filled night of treat or treating?

Enter Dwight Little.

Having directed 3 action-adventure films prior to signing on to do Halloween 4: The Return of Michael Myers, Little didn’t necessarily seem like the obvious choice. However, one thing anyone could see by looking at his first three films was a strong eye for big set pieces and a deft way with suspense. Halloween 4 also sees the return of Donald Pleasence as Doctor Loomis and Little and writer Allan B. McElroy give this genre legend more to do here than in previous films. It’s a smart move and Pleasence gives a knockout performance. Halloween 4 has a strong cast all around with Danielle Harris beginning her career as a Scream Queen playing the 7-year-old Jamie Lloyd, Ellie Cornell in a relatable and strong protector roll (an underrated contribution in many ways) as Rachel Carruthers, Jamie’s step-sister and great supporting cast including Beau Starr as Sheriff Ben Meeker and veteran character actor Michael Pataki as Doctor Hoffman.

Dwight Little found just the right balance of the controlled and deliberate tone of Carpenter’s original film and his own sensibilities as a filmmaker. Cutting down on the gore of Halloween 2 (which was really there as response to the popularity of the “Friday the 13th” films and doesn’t quite fit the Halloween series) and playing up the tension, “Halloween 4” also captures the spirit of Halloween itself. The opening montage of fall imagery rooting the film firmly in the season in a way few of the many oncoming sequels would recapture.

“Halloween 4” is not only the best of the Halloween sequels, it’s a testament to Dwight Little’s skill as a filmmaker that the film has become a traditional selection in many genre fans seasonal film playlist.

Dwight has gone on to direct plenty more films and television series in the genre including the vastly underrated 1989 version of “Phantom of the Opera” starring Robert Englund (no points for guessing which role he plays), the extremely fun and well directed “Anacondas: The Hunt for the Blood Orchid”, “the X-Files” and the brilliant “Millennium” (for which he did one of its best episodes, a Christmas episode featuring Darren McGavin as the father of Frank Black, series lead Lance Henriksen) and “From Dusk Till Dawn: The Series”. All of this on top of an extremely successful career as an action film director, of which he’s made many greats!

Dwight and Kevin talk on the high jinks of shooting a crazy movie like his early action adventure film “Bloodstone, why he approached Halloween 4 as though it were a detective movie, working with the late legend Donald Pleasence, getting around Andrew Lloyd Webber while making his version of “Phantom” and his new horror film “Natty Knocks” which has him reuniting with both Danielle Harris and Robert Englund.

In 1988 he changed the face of Halloween. Tonight, he’s back. Spill Your Guts is proud to present, a conversation with director Dwight Little.

Few mediums can capture the abstract and often contradictory nature of “dream logic” the way film can. Particularly genre film. Anyone familiar with the works of David Lynch knows that well. And to define the dream logic, perhaps Lynch summed it up best when he said “Cinema can say abstract things. It can say things that are difficult to say with words. And sometimes, if I’m lucky, ideas come for those types of things in the middle of the story – things that are difficult to say with words.”

Occasionally, a filmmaker comes along who takes all the preconceptions we have about our beloved genre and flips them on their head. By ditching the safety nets we’re used to – the tropes, the narrative beats, in this case…THE SCORE! – well, all bets are off. We’re now in the hands of someone who wants to show us things we may not understand but if we can be open to it and connect with the film on its terms, the results can be nerve shattering.

Which is exactly what has happened with the film “Skinamarink”. Kevin sat down to watch this movie knowing next to nothing about its premise or style, he just knew that its eerie poster (a child sitting on the floor, his back to us, in a blue tinged dark hallway, the image upside down) and the title which touched upon childhood memories of sing-song that shouldn’t be unsettling but are when placed in this context, had him more than a little intrigued. This isn’t a film you watch. It’s a film you surrender to. The films creator is Kyle Edward Ball.

We highly encourage all our listeners to watch the film (it’s available now on Shudder) before listening to this discussion with Kyle. “Skinamarink” is an experience you want to have with as little knowledge of its machinations as possible. 

Kyle and Kevin explore Kyle’s love of 70’s cinema, both genre and otherwise, why a filmmakers influences may not come from genre filmmakers, the impact having his movie leaked online before its release had on his film and making a movie that is deliberately loaded with contradictions.

Turn of the lights and throw on some public domain 1930’s cartoons and let’s immerse ourselves in the upside-down world of “Skinamarink” with Kyle Edward Ball.

This episode is special not only as we celebrate Christmas, a time of year rife with Ghosts and the jingle of Krampus’ bells, but also because this marks the end of Season One of Spill Your Guts. 

We hope you have enjoyed getting to know some of the most talented artists working in horror and look forward to seeing you all again in Season Two. We’ll be back a little later in January bringing your more conversations with the titans of terror. Until then, we thank you for listening.

Now, let’s talk about one of the most beloved sub-genres in film, Christmas Horror.

Though it may seem a little dumbfounding that a holiday about love and giving and goodwill towards men could be rife with so much potential for terror, it’s all those traditions and rituals that make it perfect for exactly that.

A strange man who slides down your chimney and makes moral judgements about children. Haunting bells and eerie choirs. One of the most famous ghost stories of all time also happens to be one of, if not the most famous, Christmas stories of all time. If you’re a horror fan, you know what we’re talking about! But here’s a hint, “there’s more of gravy than grave about you”.

For this final episode of Season One of Kevin Lane’s Spill Your Guts, Kevin Lane is joined by author Matthew Dupee. Matthew is an aficionado of all things Christmas Horror, and recently published an extensive and wonderful book on the subject titled “A Scary Little Christmas: A History of Yuletide Horror Films”.

Matthew and Kevin discuss why Christmas Horror has such resonance with audiences, the beginnings of Christmas Horror on film, and discuss their top 5 Holiday Horror movies in their Naughty and Nice list. And provide a couple of honorable mentions and a few recommendations for your Holiday Horror lists.

From all of us at Spill Your Guts, we wish you a very merry Christmas, filled with cheers and frights. 

Now, let’s get some milk and cookies and curl up by the Christmas tree as we explore Christmas horror with Matthew Dupee!

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Of all genres of film, few genres match horror for giving strong roles to women for as long the horror genre has. Elsa Lanchester, Bette Davis, Janet Leigh, Jamie Lee Curtis, Sigourney Weaver, Dee Wallace and Neve Campbell… all examples of actors who portrayed women of strength and power. In a genre that so many associate with women in peril, these women reminded audiences that not only could a woman survive the night, she could do so with depth and ferocity. 

Our guest today is one such actor. Though she has worked in a wide variety of genres, she has earned her place in the horror hall of fame through her work with filmmakers like David Lynch, J.S. Cardone and Mary Lambert. Always challenging, mysterious, unexpected and grounded in the role she is portraying, she is an actor that demands your attention as soon as she enters the frame.

Spill Your Guts is pleased to have Lori Heuring with us today.

Lori is an actor whose work we have always greatly admired. There’s an intrinsic strength and integrity she brings to her work. She’s played many different kinds of characters and all of them are unique and different. Some of them good, some bad and some in between and Lori always finds the in-road to creating a character that we end up rooting for.

This has a lot to do with who Lori is as a person. Lori is a caring, razor-sharp, funny, genuine thoughtful person and she compels filmmakers to cast her in roles that show those qualities in the role. Though she’s of course beautiful, this ain’t your gal if you’re looking for the archetypal slasher fodder.

Lori and Kevin discuss her formative years developing her craft while growing up in Texas, why she is drawn to working on darker stories and why she enjoys the challenge of working on edgy, independent films over big studio projects.

Kevin had the great privilege of directing Lori in Lineage, where her tremendous talent as an actor was also matched by her equally tireless work ethic.

So, let’s get into what it takes to become a Scream Queen with Lori Heuring.

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Matthew Therrien: Meet The Creative Mind Behind Some of Horror's Most Iconic Movie Artwork 

There are few things in popular culture more iconic than the movie poster. Movie posters have become more than just a way to advertise the titular film, but a form of art all their own. Think of some of your favorite horror movie posters and chances are some of them aren’t even for your favorite films. Whether it’s Stephen Frankfurt’s chilling poster for Rosemary’s Baby or Drew Struzan’s classic for John Carpenter’s The Thing, the posters for these movies have become as integral in popular culture as the films themselves.

The 90’s saw a glut of photoshopped movie star face posters, and for a while it looked like the art of the movie poster had lost out to the marketing departments. Boy has that changed!

The horror movie poster is back and it’s back with a vengeance. The last two decades have seen the rise of the more painterly quality of the classic posters and the decline of the photoshop floating heads - though occasionally terrible photoshop posters have their own merits! 

There are many great artists leading the charge, and in today’s episode SYG host Kevin Lane is joined by the virtuosic Matthew Therrien.

From his stunning new takes on classic films like Halloween and Friday the 13th, to his beloved poster for Psycho Goreman, Matthew doesn’t stop. He’s a tireless creating machine, and when you look at the quality of the work he’s doing, it’s hard to imagine when he has time to do things like sleep or eat or watch movies. Once you get to know Matthew and find that he’s also a devoted family man and a caring friend, well how can you not be cheering for this guy? One of the genre’s most talented artists also happens to be one it’s loveliest people.

Matthew and Kevin talk about his influences, his technique and how to decide what to distill about a movie when creating a poster. You may recognize Matthew’s work from other segments on the show and Matthew himself, as he has had other guest appearances on SYG. This interview was how Matthew and Kevin got to know each other, and since then they have become friends and collaborators. We hope you enjoy getting to know him as well as we have. 

Well no doubt you’re already surrounded by some of your favorite horror posters, so let’s get into the art of getting spines to tingle and gooses to bump using a paintbrush with Matthew Therrien.

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The Man, The Myth, The Legend: Charles Band Is The Celebrated King of B Horror Movies

In the world of horror, there are a handful of great showmen whose influence has had such an impact on the world of genre film that they changed the way horror films were made. These are people whose innovation, creativity, business acumen and courage have given of us some of the most influential and iconic genre movies of all time. People who see every obstacle as just another opportunity to show that they will not take “no” for an answer when it comes to getting their vision out in the world. I’m talking about people like Roger Corman, Robert Shaye and Lloyd Kaufman.

For us at SYG, and many other fans of the weird and fantastic, there is really only one man who reigns supreme. The King of gonzo filmmaking. The legendary Charles Band.

And when we say legendary, it’s not an exaggeration. Charles Band’s insanely prolific output of horror and sci-fi films is beyond comprehension. Many of them made on a shoestring budget. Many of them great. Most of them weird. All of them, and we’re talking nearly 400 films, willed into existence by a man whose infectious positivity and otherworldly talent for creating something that most would think couldn’t be done.

Whether through his company Empire Pictures, who made classics like Ghoulies, Robot Jox and Trancers, or Full Moon Entertainment - who in the 90’s gave us genre classics like the Puppet Master series, Subspecies, Pit and the Pendulum and Demonic Toys - Charles Band continues to be the ultimate showman to this day.

Charles and host Kevin Lane talk about his early days on set with his father, Albert Band, how the world of independent genre filmmaking has changed since he began, his love of bringing to life inanimate objects, and what the future holds in store for Full Moon.

Kevin adores Charles Band. When he first discovered Full Moon in the early 90’s, it was a game changer for him. At the end of every Full Moon movie there was a "making of" segment where Charlie would tell you what was going on with Full Moon and then we’d get to see interviews with the filmmakers and on-set footage of the movies being made. This is WAY before DVD and the idea of special features being a part of your home video experience. Videozone became Kevin's film school and he's sometimes wonder if he would have pursued a career in film if it wasn’t for Charles Band giving him that window into the process.

This episode is especially exciting as we have permission from the great Richard Band for the special music cues we've used. You'll notice that we've used a modernized version of the classic Puppet Master theme that Richard did for the film “Puppet Master: Axis Termination over Kevin's intro to the episode.

We've used the Full Moon’s Video Zone theme to transition from Kevin's intro into into the conversation. Videozone was a “making of“ featurette included at the end of all Full Moon movies released during the Paramount eta (early 90’s)

We've also added the “Full Moon vs Full Moon” main theme from Charles Band‘s hit 1985 film “Ghoulies” which was a surprise success at the box office and has an incredibly famous poster. The film was made under Charles' company Empire Pictures which was a precursor to Full Moon.

As always, Charles Band was way ahead of his time. Okay dudes, it is with great pleasure that we present to you the man himself, Charles Band.

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Vampire Radu Vladislas Talks Horror, Character and The 2023 Release of Subspecies: Bloodrise

Every generation has their monsters and while the 70’s and 80’s saw the monsters moving away from the gothic castles of Transylvania to the suburbs, there is one monster from the 90’s that reigns supreme in the mold of the classic vampires going all the way back to Max Schreck’s iconic performance as Orlok in F.W. Murnau’s masterwork Nosferatu.

Produced in 1991 by genre royalty Charles Band’s Full Moon Entertainment and directed by Full Moon veteran Ted Nicolau, Subspecies has become a beloved franchise spawning multiple excellent sequels including series highlight Bloodstone: Subspecies 2 which may be Full Moon’s best film.

There’s a lot about Subspecies to admire from Nicolau’s assured direction to the stunning location shooting in Romania and the rock-solid performances from Denice Duff and Kevin Spirtas as the heroes but the star of the show is unquestionably the series antagonist, Radu.

A centuries old vampire, Radu is grotesque and vile, usually gore dripping from his fanged maw while he speaks in a rasping, decrepit voice. This is not the romantic vampire of Hammer films but a force of evil that will stop at nothing to reclaim his birthright, the bloodstone. He’s one of SYG host Kevin Lane’s favorite monsters. 

Radu is played by Anders Hove.

A Danish actor, Ander’s deftly manages the balance of keeping Radu sinister and menacing but also imbues the character with an unexpected empathy and a haunting past. It’s a truly remarkable transformation when you find that Anders himself is a lowkey, kind, thoughtful man.

Anders and Kevin Lane talk about his years growing up in Greenland as well as his father’s significant political impact, why he thinks there’s far more important things to life than being an actor, the challenges of shooting in Romania and how important it is to find the humanity when playing a monster.

SYG will have more interviews with the folks behind the Subspecies saga, including Charles Band, Ted Nicolau, Denice Duff and Kevin Spirtas as we all prepare for the much anticipated Subspecies: Bloodrise, which sees the gang all returning after a more than 20-year gap since the last film. The film has been shot and will be released in 2023. 

Without further delay my fledglings, let there be a bloodbath with Anders Hove.

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