Saturday, October 31, 2009

The Upcoming Pulp Legion Electrogram

So if you were following this commentary track you saw where Aric Blue challenged my assertion regarding the value of free and so on when it came to movies. And no, he's not being argumentative or combative in asking these questions...

And it's going to take more room than a blog post or comment to address them . So I'm going to do just that in the next issue of the PULP LEGION ELECTROGRAM.

If you're not familiar with the e-gram it's my (hopefully) monthly newsletter / love letter / notebook to indie media. I try to add plenty of links to cool stuff - programs and services you can use as well as the occasional bit of pulp fluffery. (Okay a lot of pulp fluffery) I take a bit more time to develop the ideas and text for an electrogram which eventually makes their way into a book on pulp mediamaking that I'm assembling.

One item from Aric's comments that I did want to immediately address is this:

As for cafepress and all that, wasn't it you that was telling me you can't be a filmmaker AND a distributor? But you can be a filmmaker and also do all this other cross-product promotion/creation?

In today's world. The world we live in right now. If you want to actually make a profit from your work -- then you have no other choice. Not unless you are in the league of someone making a movie for $5M or so... and even that slice of the moviemaking realm is thin. Too small to release in theaters, possibly too big for DVD. It needs special handling and positioning.

I will go into more detail in the next issue. If you haven't subscribed go to the sidebar and do so. It's free and completely non-invasive.

Now I have to get back to writing and selling my pulp.

Thursday, October 29, 2009

Roger Corman Presents Splatter Streamed for Free from Netflix

Roger Corman Presents Splatter Streamed for Free from Netflix


Incredibly gruesome for a webs series (or am I missing something out there? Send URLs) and features Corey #1, Joe Dante and the Maestro Roger Corman in the latest way to make a movie while generating an audience for it.

Interesting times...

Wednesday, October 28, 2009

Every Scifi Pulp Action Movie ...

needs fight music. That is, the soundtrack you hear in your head as you write the fight scenes - fists flying, leaps over tables, bottles crashing over heads, cars crashing, flying out the window on a curtain only to swing around and come back in to the fight.

Then of course with my just-completed Scifi project FLY BY NIGHT there's the additional rayguns blasting, zeppelins roaring past skyscrapers as they patrol overhead, wings flapping, battle cries, eye goggles askew, perilous falls toward doom and so on...

(The kitchen sink is in there somewhere)

But no matter what movie it is - you hear something in your own mind that captures the momentum and feeling you want to convey in your picture. Here's the feeling we're trying to capture for the action scenes in Fly By Night:



Bellware adds to the mix here.

Yes, Red Tide is an obvious influence - not only with the film noir visuals, but with the use of structural "frames." This IS a comic book movie we are making here.

William Castle: 1914 - 1977


This is William Castle.

You screwballs who are in film school right now who don't know who he is are MISSING OUT.

In fact an entire company division was created in order to remake this man's movies.

Note the cigar chomping resemblance to the Bastard in the profile on the right >>>>

Learn more here.

Note to professorial types: How can you teach film and not cover someone like Castle? What's film education coming to these days?

Tuesday, October 27, 2009

Random Neuron Firings:

Went from scary near zero work to a ton in the space of a day. Now if only clients paid the bills as fast as they ordered the marketing I would be far less stressed...

Have been working on a project here at work, and I have to say that I like any media production where the biggest headache would be the legal ones (which I wouldn't have to deal with). Distribution, design, publicity and marketing would all be from the desktop.

Bellware will be happy to know I'm writing. As will Tomlinson.

I will be at AFM. If you are there give me a shout.

Chad Michael Ward enjoys his work.

Still have a lot of stuff for sale - so come on by this week. Seriously - this is a geek's paradise when it comes to Christmas presents. Superman TV's. Green Hornet action figures...

It's a bone-chilling 65 degrees here at night.

Hahahahahahaha.....

Drip...Drip...Drip...

Ted Hope over at Truly Free Film (which you really do need to place in your Google Readers, kids) had a post up regarding how slow things haven't changed from the dire predictions he made in an older article he wrote for Moviemaker in 1995 titled "Indie Film is Dead.". What's interesting to me is that he lists many problems with the Industry at that 1995 point that make me shake my head a bit.

So I thought I would take a few moments to look at this more closely and add my pithy prose to the mix and discuss the slow drip of change:

Acquisitions are driven by marketability, and marketability alone. Art has no value. Sure a film has to be "good" to be picked up, but what does a distributor truly look for when it acquires a film? Uniqueness of vision? Independent spirit? Discipline? A controlled or unique aesthetic? Try again. Like their Hollywood counterparts, the first item on their menu is a marketable concept, one they already know how to package.

Here's the problem with this statement - As an audience member, I don't care how unique the vision of the film is, or the person's indie spirit, their discipline or unique aesthetic. I want to be entertained. I want to connect to the story in some way and be asking myself, "What happens next?"

Marketability means how easy it is for an audience to connect to and immerse themselves into the movie. If you can't connect to the audience in some way - then why do it?


The major specialty distributors only seek films they believe can gross $2 million at the US box office. There is no small acquisition anymore. When a distributor offers a minimum guarantee of $300,000, they are essentially stating that they believe the film will gross over $2 million at the box office (the MG is nothing more than an advance against future profits – the size of the advance is in direct correlation to a distributor’s conservative estimate of the film’s future revenues).

They know it's a lot of work to distribute a film theatrically. Especially in 1995 when you didn't have digital cinemas. They have to have a reasonable cut off point where they know their efforts are going to be worthwhile monetarily.

There are too many pictures out there that received a theatrical release that did not deserve it. It was the wrong move marketing-wise and choked too many theaters and distributors. The audience simply wasn't there to support it.


The "Big Little" distributors have a surplus of films; they don’t want yours (particularly if it’s an art film). Miramax doesn’t even try to hide the fact that they have over 40 films on the shelf – they promote it. If one of the larger specialty distribs were to pick your film up today, you’d be waiting a year for your premiere.

What's true then is true today...if you're using a "Theatrical release first system." Having a library of content and moving it around so you always have some sort of income flowing in is the model that allowed Trimark to become Artisan to become Lionsgate. No distributor wants to release a movie just to release it. They want to position it so it does its best.

I urge all of you to read the rest of Ted's article and his postscript. Then I want you to start rethinking how to release a movie - and think about what a movie actually is to your business plan - by watching this:



(courtesy of Jill Golick)

Your movie in today's marketplace is simply the tip of the iceberg. Hollywood is The Titannic. We all know how that story ended.

Turn it around. Build the audience first: through email, through the content, through interaction. Then sell the containers: the DVD, the merchandise, and
finally the screening event in a theater.


Monday, October 26, 2009

Pulp Sales are Never Done

Big thanks to everyone who dropped by the Pulp HQ this weekend and walked away with some pulp-tacular material. I am extending the big honkin' pulp sale through the week because:

We still have a lot to go through.


This week come by the abode between 6-8 (after work) or drop by on Saturday Morning (October 31) after 8 AM and pour through:

  • Serial Lobbycard reprints
  • Film books - out of print stuff, classics, rare books, serial adv. books, Republic Confidential supplement, etc...
  • Pulp books - The Spider (Baen), James Van Hise books, A Steranko "Unseen Shadows" book.
  • Fumetti - Dylan Dogs, Zora, Martin Mystery, Nathan Never, Diabolik, others...
  • Manga (only $1 each book)
  • Comics
  • Art books - Watchmen, New Frontier, Retroactive, Brian Bolland, Dave Stevens' Vamps & Vixens,
  • DVDs - indies, screeners (only $1 each)
  • Magazines (Cinemagic mags, From Parts Unknown, Serial World, Playboy)
  • Paperbacks (The Avenger pulp reprints, Weird Heroes, Darkman paperbacks)

I even have this (at my office - contact me for details)

More stuff here (partial list including contact details).

PLEASE CALL FIRST.
(That way I can set stuff aside for you!)

Friday, October 23, 2009

Monday, October 19, 2009

For Mutant Swingers Only!


From my friend, director Mike Kallio:

Just wanted to start getting the word out.
My 50's sci-fi spoof is making its LA premiere Saturday, October 24th, 2009 at 3pm at the world famous Graumann's Chinese Theatre.
It has been accepted into the horror/sci-fi film fest called Screamfest LA. It features the real acting debut of guitarist/frontman Jack White of the Detroit band, The White Stripes (and a few other bands as well).

It's a family friendly sci-fi spoof so, anyone can come and check it out. Hope to see you there. Ticket info and links are all below,.. if you have any questions, feel free to send me a note. HOPE TO SEE YOU ALL THERE!

Attached is our movie poster done by friend, colleague and artist wizard/ninja, Kevin James (who also makes a cameo in the film). There will most likely be a Q & A with cast and crew after the flick too, so that should be fun.

Best,

Mike Kallio


Link to festival site: www.screamfestla.com

Link directly to the film page on festival site: http://www.screamfestla.com/showFilm.php?movie=mars

Link to the trailer: http://www.youtube.com/watch?v=KR3IlCRi0pM

And don't forget to check my youtube.com/darkallio page for new web-isodes/promo-sodes,.. and other fun little promos for the movie which ARE coming SOON!

Joining the 21st Century...

And yes, in many cases they are joining while kicking and screaming, but it is happening.
From 2 weeks ago at LBCC (courtesy CBR):

Stephen Christy, Director of Development for Archaia Comics, moderated an in-depth discussion of the future of digital distribution for comics, at the first annual Long Beach Comic Con. Populating the panel were various digital comic creators, including: Rantz Hoseley, the editor of "Comic Book Tattoo" and CEO and Founder of LongBox Inc., Joshua Hale Fialkov, the creator of "Tumor," the first digital graphic novel developed for the Amazon Kindle; David Gallaher, creator of "High Moon," a digital webcomic that runs on ZudaComics.com, and "Box 13," an exclusive iPhone comic; and Matt Maxwell, the creator of 'Strangeways,' a webcomic running on CBR's Robot 6.

Christy focused primarily on the theme of reaching out to the larger potential audience for comic books, outside of the comic book stores, through digital distribution. He described the theory behind LongBox Digital as it being a one stop shop for digital comics. He then announced that all of Archaia's titles will be available on Longbox, eventually.

Zeroing in specifically on Archaia's success with the digital comic, "Tumor," Christy said "'Tumor' has been the number one selling comic on the Kindle for eight weeks, beating comics such as 'Star Trek,' popular mangas, 'Indiana Jones,' and other major licensed projects."

Christy said that Archaia is focusing on new ways to get comics out in front of the public, by looking at Kindle, Longbox, "or through other devices, who we are talking to, which we have not announced yet. The biggest goal is to try and find an audience. How do you find an audience in new ways?"

Regarding "Comic Book Tattoo," Hoseley said "It's a best seller by real book industry standards and comic industry standards. However, on the ICV2 numbers, which are the commonly held tracking numbers for sales and stuff, it would not appear anywhere on the top 500. That's largely because, for all the thousands of copies sold, less than 10% of the copies sold went through the direct market shops. We've sold thousands and thousands and thousands of copies through places like Barnes and Noble, Borders, Amazon, and other direct sales outlets."

Archaia's "Tumor," developed with the Kindle in mind

Christy spoke about the similar case of "Gunnerkrigg Court." "We have a book called 'Gunnerkrigg Court' that is a webcomic that we have a hardcopy of. We sold 10,000 copies of the first edition, which is a $27.00 hard cover, through the book market. And we've sold like 800 through the direct market. 'Gunnerkrigg Court' is like Harry Potter for girls, and I don't know many 8 year old girls that go into regular comic book shops. When we can get a book like 'Gunnerkrigg' out to those 8 year old girls that should be reading it, and they can walk into any Borders or Barnes & Noble or Amazon or just order it online…that's an amazing thing.

"Those are people that wouldn't be reading comics otherwise. They would never be able to find 'Gunnerkrigg Court' if they had to go between issues of Spider-Man and X-Men to do it. This is a new age, a completely new age. And it's something to be happy about, because the audience is limitless. You can only go up from where you are right now, essentially," explained Christy.


(Color highlights mine)

Now every time they say "comics" in the above piece also add "movies, games, books, TV shows and music/audio" (and I'm sure there will be other things to add soon as well). I was lured into a discussion on Sunday regarding new media and gained some insights into the world of financing and how banks and financing institutions "see things" when it comes to loaning producers or entrepreneurs financing.

It really opened my eyes on a few things and how we as media makers have to change their perceptions with solid work that can work on the scale they loan money at (in other words, it doesn't make sense for them to loan money for anything less than $5m because the return on investment is so small. Banks also get nervous when you flip flop the distribution windows and release a DVD yourself without trying for a theatrical release -- even though THEY KNOW the theatrical release will lose money in most cases). They are looking to protect their back end return and the business model they know and have been working under says "Theatrical first."

But that's not the 21st century is it?

That's not a world with more laptops/computers and Iphones than actual televisions. That's not a world where Google - IF it is successful with its Android phone platform - will seriously compete with IPhone but with an open source coding framework for building phone applications.

It is conceivable - in this bastard's twisted mind anyway - that we will be making programs for that phone and laptop with story connections elsewhere on the web accessible via that mobile device. So not only will you be able to watch that KNIGHTMARE web serial/TV/Movie hybrid show -- but you will be able to listen to the classic radio shows too -- and read the pulp novel (pending) -- and play the game -- and read the webcomic -- and discuss all of the above in the forum -- or buy the t-shirt -- or dozens of other world dominating plots I haven't even concocted yet.

But if the response on this little experiment of mine is any indication - there's an audience there that wants to not only watch - but use - their media. If you hook them, and feed them regularly then the rewards will be there.

But I can't use my media in a theater (or at a comic book shop). I can share the experience with a limited number of people... but that's so 20th century.

I'm living in the 21st. Things are faster, wider and more involved. They're also cheaper and that's something any business lender can get behind.

More (rants) as this develops.

(And for those of you thinking that digital will replace print, I have to say "yes and no". It will replace certain aspects of print - floppies - but will reinforce the collectible print editions. One only has to look at the Japanese manga industry to see how this is working. It is a model that can be used for a variety of media)

Monday, October 12, 2009

Pulp by Design: MERCURY MEN



From the Mercury Men.

Yes, your design and your story walk hand in hand. Messing with one messes with the other.

When you are pulling your story together, pull in your reference work- pictures, video techniques, snatches of dialog, lighting schema, music, title sequences - all of it.

YES - EVEN BEFORE THE SCRIPT IS WRITTEN.

And I know very well the idea of science fiction in an analog world.

Don't I, Mr. Bellware?

Monkey Business


I took a short respite from bloggery and told all of you to take a moment and throw up some short fiction based on this pic. Details here.

We have several links to stories in the comments of that post, but good pal Jim Henshaw of The Legion of Decency sent this over via email so I had to post this up to share:



Cheetah had never been to Amsterdam. He had never eaten a Royale with Cheese. Hell, he'd never even been in a MacDonald's. On either side of the ocean. Why would he? His body was his temple. No meat. No dairy. Maybe one beer with Crabbe or Weissmuller after wrap. But just one. Those guys took care of themselves too. That's how you stayed on top in those days. You stayed fit. You stayed focused. You worked at your craft. Not like the kids in the business these days.

He had almost cold-cocked the whiny, fast-jabbering kid who'd accosted him in the Video store, claiming he was a director. What kind of director went out in public without a crisp Brooks Brothers shirt and a tie? It would never have been tolerated at MGM. But amid all the slack-jawed yammering the kid had swore he'd seen all of his movies, even "Tarzan and the Mermaids". God, how he wished they'd let him do his own swimming in that one. He'd almost flipped him a signed glossy and walked away. But then the kid told him he'd been ignored too long. His star deserved to shine once more.

While you're shooting 85 features and 300 TV episodes, you think it's never going to end. And when it does, and then the weeks turn to years of low-fat banana shakes, afternoons at the gym and improv classes in Glendale, having somebody say he can put you back on top again can't help but push your buttons. So here he was. His first screen test since 1931. It was between him and some bloated nobody who'd been half a dancer and shot his wad in less than a decade.

Piece of cake.

Friday, October 09, 2009

I Leave You With Your Weekend and This:

Almost 20 Q: Popgun Pulp Studios presents JOHNNY RECON


I recently took a few moments (er, emails) and conducted another "Almost 20Q" interview with other pulpsters out there who are living the dream. This time I visited PopGun Pulp Studios and we talked about what it took for them to get their debut comic JOHNNY RECON off the ground and flying through the galaxy....

1. Who is Johnny Recon and what does he mean to you?

[MITCH GERADS] To me, Johnny is my escapist self. He's my outlet for getting as close to all the things I imagined my adult self doing as a kid, like traveling to distant planets, fighting aliens, getting by on my wit. Johnny is a magnet for adventure, and we could all use a little adventure in our lives.

[SCOTT DILLON] In thinking about what Johnny Recon means to me, I can sincerely answer that he is a character who is fun to write. I would have worshipped his passion for danger and adventure when I was a kid, causing my parents to scowl disapprovingly (and making me love him even more). He’s a sarcastic ne’er-do-well who is still searching for his place in the universe (and isn’t in that much of a rush).

2. What influences would a reader of Johnny Recon see in your work - both writing style and artwork? What are your personal influences that get your rocket engines going? (TV, movies, comics, cartoons, toys)

[MITCH] The pulp influence for me, obviously. I LOVE modern comics and movies, but there's something about the old stuff like Indiana Jones, John Carter, the early Adam Strange, Doc Savage, that stuff really gets me fired up. Men being men in seemingly simpler times. Sure, it's pretty misogynistic by today's standards, but no one can deny how much fun it was.

[SCOTT] Without a doubt, readers would identify the influences of Mark Millar, Joss Whedon, and R.A. Salvatore in my writing. Their flair for creating unique, adventure-filled stories with extremely memorable characters really hits home for me. As for my original inspiration in becoming involved in comic books, I can’t say enough about how much I loved the X-Men growing up (Archangel was the coolest).

3. Give us a little bit of background on Johnny - set up the universe for us.

[SCOTT] We had a bit of a concern at the beginning of our universe creation since stories about everything having to do with aliens and Earth have been done to death, but we felt comfortable about the foundation we were creating, and we really wanted to take the genre in a new direction. We explore this idea that an alien species comes to our planet and offers select individuals, ranging from significant historical figures to seemingly common individuals, the opportunity to start a new, peaceful civilization on a different world. But what make us human are our flaws, and, eventually, this newly created utopia crumbles. Enter our brash and charismatic protagonist that comes from a long family line of heroism, Johnny Recon, who lives on a planet built upon a framework of peace and coexistence that has devolved into a society of seclusion and war.

[MITCH] Scott really is the architect of this universe. He's put so much time and thought and research into this. It completely blows my mind. I just wanted to draw Indiana Jones in space, but he’s turned it into something SO much better.

[SCOTT] I think a large part of what makes me want to write about other worlds is the fact that I’m not completely satisfied with the one that I live in. I saw this universe as an opportunity to create not only idealistic views of humanity but also establish symbolic themes that expound upon issues in our own society.

[MITCH] See what I mean? Haha.

4. How did you guys meet and decide to do a comic?

[MITCH] I've actually known Scott since the first grade, so about 22 years. We both shared a love of comics, cards, etc. and we've been friends ever since. In the last three or four years, we've been trying to come up with a project for us to collaborate on, and, after a lot of trial and error, we re-imagined an old idea of mine, and that's where Johnny Recon all started.

[SCOTT] Wow, it really has been 22 years, I feel extremely old now. Thanks, Mitch.

5. What else have you guys done that would be known by this audience - toys, magazines, media graphics, etc?

[MITCH] For the last four-and-a-half years, I've been designing and illustrating children's cereals and stuff like that. Most of the General Mills kid cereals on-shelf, for the last three years or so, I've either designed, illustrated, or worked on in some form (Trix, Cookie Crisp, Lucky Charms, etc.).

[SCOTT] I’ve been focusing on a career in publishing up until this point, and I had put my dreams to become a writer on the backburner, so I’m very excited that Johnny Recon came along. It is the only example of my work out in the marketplace at this point, but it’s reignited my passion for writing.

6. Dream job?

[MITCH] Comics, without a doubt. Just getting my stuff out there right now with Johnny Recon and other samples, etc. I will say the future is looking bright!

[SCOTT] Mitch and I often talked about working together on a comic when we were younger, and it’s extremely surreal that it became a reality. My dream is to become a published author, whether it’s creating comics, short stories, or novels.

7. How did you put together this issue of Johnny? Who does what? How long did it take? What tools do you use?

[SCOTT] I wrote the script, collaborated with Mitch on the story creation, and he literally did everything else (penciling, inking, lettering, coloring, you name it). I found that, for me, the best way to write for the comic was to generate a free-flowing story, separate each beat into a page outline, and, then, draft the script.

[MITCH] I started actual pages in February and finished everything in mid-early June, in-between my full-time cereal illustration job. As far as my process, I kind of stole it from one of my idols, Adam Hughes. Once I have the pages roughly laid out, I'd go in and pencil individual panels on whatever random scrap paper I had lying around. Then, I would scan it in and arrange it all in Photoshop and print the composite pencils, tape that to the back of a virgin bristol board, throw it on the ol' lightbox, and brush ink the entire page onto the board. Lastly, scan that in and finish everything else in Photoshop.

8. What lessons did you learn in doing it yourself?

[MITCH] My god, what didn't we learn? Ha ha. Seriously, it was the most educational comic experience I've ever been privy to. I seriously could go on and on, but it's easier to just tell you to see for yourself and pick up issue No. 02 this winter. I liken issue No.01 to a TV pilot. Issue No.02 might read, feel, and look a little different (...and it will!) , but it's only because we've learned so much from making issue No.01 that we know EXACTLY how we want to continue from here.

[SCOTT] I think that one of the biggest things we both learned was how to work with the other person. We’d never collaborated on anything until Johnny, so each one of us needed to learn how the other felt most comfortable in terms of creating our own interpretation of the story.

[MITCH] Scott and I are very different storytellers, which doesn’t usually work out for most people, but the fact we’ve been friends for so long lets us listen to the other’s ideas and find that creative common ground without any of the fight. That collaboration is what fuels all our ideas.

9. Will you guys be making any convention appearances? When and where?

[MITCH] For sure! In just a few days we'll be at the MN FALLCON in St. Paul, MN. I think that's it for 2009 actually, I'm hoping to get some shop-specific appearances somewhere in there as well. Next year, we plan on hitting as many conventions as we can work out. We're very excited for the new C2E2 next year; I predict big things for that show. I guess you can just stay tuned to http://popgunpulp.com. We're pretty good at keeping all our plans and appearances up-to-date on there.

[SCOTT] Our first issue of Johnny debuted at the Wizard convention in Chicago, and it was an amazing experience for both of us. It’s a wonderful feeling when we have an opportunity to interact with our readers and receive their thoughts and feedback on something we’ve both created, so we really look forward to doing more in the near-future.

10. There's a lot of creators out in the market right now - who are some of the people you want to work with - artists, writers, publishers, characters?

[MITCH] Ha ha, this is one of those questions us comic guys could go on for about 3 days straight with. I really want to sink my artistic teeth into both the big two companies and their characters, but, other than that, I have a HUGE goal to work on IDW's Doctor Who. Tony Lee is writing some incredible Doctor stories over there, and I want in on that.

[SCOTT] This is mostly due to the fact that I grew up watching the very cheesy TV show with John Wesley Shipp as Barry Allen (have to love the outfit), but I would have a lot of fun writing The Flash. I still remember reading The Adventures of Superman #463, where Wally West races Superman to determine who’s the fastest – as a kid, I really identified with West in the issue, who wanted to show the world that he was better than Superman at one thing. This idea of him being so egotistical, yet portrayed as the underdog, was very appealing for me. Wow, that was a tangent – like Mitch said, other than the big two, in my dream of dreams, I’d work with Jim Lee or Bryan Hitch.

[MITCH] Can I change my answer to “I want to BE Bryan Hitch”?

11. Personal backgrounds - what's your education? When did you first pick up a pencil or typewriter/ laptop?

[MITCH] I'm the classic case of decent-to-good grades throughout school, but constant parent teacher conferences about my "constant doodling" interrupting "mah book lernins." Ha ha. After high school, I went to the University of Wisconsin-Stout and earned my Bachelor of Fine Arts degree in graphic design, which has been INVALUABLE to me as an illustrator. All illustrators should be taking graphic design classes.

[SCOTT] I still remember writing these short stories with my younger brother when I was in elementary school. I actually have a couple of these now and, when I look back at them, a part of me wishes that I could have held onto that childlike imagination because, although they were extremely rough around the edges, the ideas themselves were so fantastical. As long as I can remember, I’ve wanted to write – in pursuing that dream, I attended the University of Minnesota and graduated with Bachelor of Arts degrees in English and Journalism.

12. Where on the web can readers find you? (website, facebook, twitter, web store, etc...)

[MITCH] This is definitely my question, ha ha. I'm trying to get Scott to embrace the world of social networking. Slowly, but surely ;)

[SCOTT] Ugh, I am on Facebook, but I’m horrible about checking it. I don’t even have a Twitter account yet. I’ve seriously considered asking Mitch to just create one and update my status for me. I’ll get there.

[MITCH] We keep our main website (http://www.popgunpulp.com) constantly up-to-date with everything we have going on. That's really our main hub. You can access our web store on there, get all our updated news, appearances, links to both our Twitter and Facebook networks; it's all there on the main page. I'm a Twitter fiend, so hit me up!

[SCOTT] He’s not kidding. Whenever I can’t get a hold of Mitch, I check Twitter to see what he’s doing.

13. Secret Mountain/ Volcano HQ or deep underwater complex?

[MITCH] Yes! Now THESE are the questions I was looking forward to! Definitely Secret Volcano HQ.

[SCOTT] No way – deep underwater complex. Have you seen Deep Blue Sea? Or played BioShock? Can’t beat the atmosphere.

14. Raygun or jetpack?

[MITCH] Oh, come on! What's the point of even having a jet pack if you don't have the ray-gun to go with it? PS. I totally have a thing for ray-guns, so if anyone wants to bring anything ray-gun related to a convention for me, I'll totally make it worth your while.

[SCOTT] Hmm, this one really made me think. It’s a close race, but I have to go with jet pack. Another one of those nostalgic things, but I was in love with The Rocketeer as a kid, and I would have given anything to strap one of those on and fly around the world. It didn’t hurt that it also helped the hero get Jennifer Connelly.

[MITCH] Traitor.

15. Flying wing or rocket car?

[MITCH] Rocket car! It's even fun to say.

[SCOTT] I have to agree with Mitch, here – I already have a jet pack.

16. What's in the future for the Recon family and Popgun Pulp Comics?

[MITCH] We have Johnny Recon issue No.02 coming out this winter. We've had a very hectic last quarter of the year, and we hope to make up for it by being a bit more regular in our release times in the future. Other than that, like I said before, we really want to hit the convention circuit running next year. We're super excited about issue No.02. I promise, it's gonna’ be a solid book.

[SCOTT] This question relates back to your earlier query regarding what we’ve learned. Both of us feel like we’re honing our craft so much, just by utilizing it day-after-day, and we’re really getting a sense for how the other person works. We have high hopes that, as we continue to churn out issues, hopefully at a faster clip, the future is bright for us. One thing that I know we both want to emphasize: we don’t like multiple first issues. We want to stay in the Reconiverse for a long, long time.

17. Advice to those who want to do what you're doing?

[MITCH] Get HONEST critiques of your work and LISTEN to them. You have to learn true critique. It's the most solid thing I learned from going to art school. You don't determine how far you make it in the business, the fans do, your art director does, the editor does, so listen to what they have to say and use it. This sounds really cheesy, too, but have fun, no matter what you're doing. You gotta stay happy!

[SCOTT] I hated this advice as a writer, mostly because I heard it so often, but it’s so true: write, write, write. Also, attend workshops where, as Mitch said, you can receive honest feedback on your work. Your family and friends will support you, no matter what – but strangers can oftentimes be the best thing for your work, providing you with critical comments that you’ll never receive from them. This quote from John Keats has always been inspiring for me: “I would sooner fail than not be among the greatest.” The important thing is to always try – as a burgeoning writer, it’s almost expected that you won’t be that good. The important thing is to stick with it. Lastly, when you have an idea, see it through to the end. New concepts are constantly popping into my head – the hardest part for me to learn was to write them down, put them aside, and focus on what I was already working on.

18. You're casting the Johnny Recon movie - who's your all time dream cast (living or dead) ?

[MITCH] This is probably just the Doctor Who nerd in me, but I think John Barrowman would be the perfect Johnny Recon. Hell, even if Johnny Recon ends up being a musical, he's STILL perfect for it.

[SCOTT] Wow, Johnny as a musical, scary thought. Good choice with Barrowman, but I’d have to go with Nathan Fillion. His natural charisma is a perfect fit for Johnny. Running down the rest of the cast in the first issue, I’d have to say Doug Jones for Finn, Rita Hayworth for Kierra, Jimmy Stewart for Will, and Kylie from the Windows commercials for Laurie (although this would be tough to run by Mitch, who’s a Mac guy through-and-through).

[MITCH] Grumble Grumble

19. Star Trek or Star Wars?

[MITCH] Wars, but only the original trilogy. Somehow I've been involved in comics and sci-fi my whole life and have never seen an episode of Star Trek of any series. BUT I did see the NEW JJ Abrams movie, it was phenomenal.

[SCOTT] This may have to do with when I was born, as I missed out on the original Star Trek series, but I would have to say Star Wars. I rented the original trilogy from my local video store so many times that my family eventually bought me the movies (they worked out that I had already paid enough to have purchased them three times over). This was a tough decision for me, though – I absolutely loved Star Trek: The Next Generation. There was nothing like it on TV around the time it was on, and I really latched onto the idea of exploring the unknown. The STNG movies were a bit lackluster, but I’d take them over Episodes I-III any day.

20......

[MITCH] Hey, what happened to that guy interviewing us? Are we done? Are those little sandwiches free?

[SCOTT] Weird, just disappeared on us. Take the sandwiches, ask questions later.

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So give the comic and these guys a chance and visit their website to pick up the first issue of JOHNNY RECON.

Thursday, October 08, 2009

Aaaaand Break!

Between multiple writing deadlines converging at once (my fault entirely), computer problems (scream worthy) and making a living -- I've been stressed out.

I am officially putting the brakes on for a bit and reorganizing so I can actually... you know... accomplish something and clean my plate of work.

In the meantime if you see anything cool on the web: comics, books, video, audio, games and so forth, post it in the comments. I'll catch up with it soon. Or you could write a story based on the image here. 100 words max. Go and do me proud.

I'll be in the corner asleep. Or is that passed out?

Wednesday, October 07, 2009

You Can't Hold Back The Red Tide


JH Williams had a post today linking to this analysis of Steranko's noir masterwork RED TIDE (which should be reprinted for those of you in a position to do something about it). The articles in the analysis go into detail about the process Steranko used to create this comic book... excuse me, a "powerful Fiction Illustrated novel."

Excellent stuff that should be poured over by all you comic book and writer types.

Format affects the Design affects the story.

Listen Up!



Heard this story this morning during the raging winds of the Hollywood Executive shuffle.
NPR talks about all of the things we talk about here - branding, audience, creating "properties" and so on...

It does not paint a pretty picture of the Hollywood business model, but points the way for indies. I am especially pleased that PARANORMAL ACTIVITY is singled out.

Ingenuity > Dollars every time. EVERY time.

It's the pulp way.

Tuesday, October 06, 2009

Bob Burn's Hollywood Halloween

Every one of us had that house in the neighborhood that went all out every holiday. Christmas, Easter but especially Halloween.

Blazing lights, steaming cauldrons of grue, a coffin with Dracula himself. We saw it all - right?

Not quite. Seems Bob Burns decided that Halloween had to be...better. Because old Bob had worked in the film and TV industry for so long (He was Tracey the Gorilla in the old GHOSTBUSTERS TV show) he had a lot of 'friends' who felt like he did. These friends just happened to be some of the famous movie makeup, prop, special effects and costume wizards whose names graced the likes of CLOSE ENCOUNTERS, STAR TREK, STAR WARS and many other big Hollywood productions.

But sometimes you just have to get the band together and jam in the garage.

Now there's a website and documentary you can watch featuring the many backyard Halloween productions Burns and co. produced for the neighborhood kids in Burbank, CA. They are posting video clips, pics and other goodies to countdown to the 31st.

Enjoy!

Pulpy Stuff You Know You Want (Okay I Know I Want)


From Sideshow Collectibles.




















And the New Doctor Who Logo (not that I want the logo - I'm just anxious to see the show)


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And for all you FTC folks out there: I'm NOT getting paid directly to endorse these products or media. I need to work on that because affiliate marketing and promotion is part of the chain of commerce throughout the internet. Make that hard to navigate and you actually harm trade. People know when you're bullshitting to just make sales. The sniff test on that is really simple. If you want to have any sort of reputable commerce through your site - you ONLY endorse products that you like and actually appeal to your audience.

I do get sent DVDs and books and other products to review. The product manufacturers/producers/writers don't always like what I have to say. But I notice no downturn in the amount of material I receive. Anecdotal evidence to be sure - but then again, I write for a living. Anecdotes come with the DNA.

Monday, October 05, 2009

Roger Corman Presents: SPLATTER

Is it a Cable TV premiere or a D2DVD?

No - it's Netflix's first ever web series! (via Tubefilter)

Netflix, which started as a simple “DVD delivery to your home” service and has grown to delivering movies straight to computer and XBox is now about to tackle the world of web content. And they are doing it with a bang. Literally. To Corey Feldman’s head.

Feldman announced yesterday on his blog that not only will he be reprising his role as Edgar Frog in Lost Boys 3: The Thirst…he’s also going to be starring in Netflix’s first ever web series, Splatter. Not only that, he’s teaming up with legendary directors Joe Dante and Roger Corman to do it.

Corey-Feldman-Splatter

The project itself is still mostly under wraps but Feldman could say a few things about it. “The project is titled Splatter and is being created for Netflix. This will be their first ever live streaming web series. Splatter will be a multi episode web series that will go live on the web on Halloween weekend. My character’s name is Jonny Splatter. That is pretty much all I am allowed to say for now.”

But there is one more small thing more he can show you… “in light of Friday’s Chiller Eyegore awards ceremony, the folks at Netflix were kind enough to launch a teaser site of the new web series as the show began. I will give you the website address so you can catch the first glimpse for yourself…but before I do that I must give you a warning…this is not for little kids. The material is graphic in nature, and parental discretion is strongly advised…this is a pretty shocking 30 second clip you will see. Please make sure you remove small children before reviewing this teaser. OK now that, that has been said, the address is www.netflix.com/splatter … and remember it’s just a little Halloween fun!”

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Okay gang, the takeaway on this is:

1) Netflix thinks there's money in webseries.
2) Netflix has a business model that is very very strong.
3) Roger Corman (a man who doesn't do anything unless he sees the "upside") is doing a web series.

This is good for all of us. Now we have to find out how much they're spending, the structure, etc... the business details.

Curt has Another Flickr Stream: Fumetti

Which you can see here.

'Fumetti' is Italian for 'puff of smoke' and refers to the word balloons in a comic which to their eye looked like a puff of smoke. Italian comics have a diverse line of genres way outside of superhero comics: Crime, Horror, SciFi, Thrillers, Romances, Porn, and mixes of the above. ZORA is a mix of sex and Hammer-Horror. A Virgin who was made into a vampire by Dracula himself before she became a 'woman.'

The digest format these Fumetti use are very much like Mexican 'Historietas' or 'Little stories' which feature a wide range of pulpy subject matter. Easy to drop into the backpack and read on the bus or train.

Report From Them's That's Pulpin': Dave Flora
































From pal Dave Flora:

I wanted to let you know that my webcomic, Doc Monster, is competing in the DC Comic's webcomic competition at www.zudacomics.com ! The competition went live just a few minutes ago, and there's some very solid contenders.
The webcomics with the most number of votes, favorites and visits receives a year paid contract to produce the webcomic.

I'm pretty proud of Doc Monster, which you can see here: http://www.zudacomics.com/node/1502

If you read it and enjoy it, please register, vote and tell your friends!
Thanks for everything,
-Dave Flora

Report From Them's That's Pulpin': Rico Lowry

Good buddy and director of the fabulous DESTINATION MARS and MONARCH OF THE MOON, Richard "Rico" Lowry sent me a note I'm passing along to you guys:

Been a while, thought I'd update you on my nutty activities...

We completed a rough cut of RAPTURE a while ago and hooked up with Paul Ottosson (sound designer for the Spiderman films) and a post production supervisor, Jack Schuster (Juno) who both saw the cut and came on board as partners. They're bringing in a visual effects team and will bolster the soundtrack to give the movie higher production values. We'll be taking it to AFM.

With Rapture wrapping up, we're already developing my next project QUICKFIRE, a martial arts action/thriller that we plan to shoot in Slovakia or Bulgaria. To better showcase the project, we shot a 'mock' trailer. To see it, check out the site at

www.quickfire3d.com.

The current trailer for RAPTURE is at: www.rapturethefilm.com.

Muad'b not Kit Walker


If they went with the whole "Kit Walker is going to lead the Fremen into a new era..." premise for the upcoming THE PHANTOM from Syfy - I would be down with it.

But no...

See?

Lots of Frequent Posts Today

Think of it as my way of calming your pulp ADD.

In the meantime go here.

(Because clearly you need a wake up call)

Friday, October 02, 2009

Thursday, October 01, 2009

Share and Share Alike: Links You Should Pass Along

Curt at Groovy Age has a Flickr set.

Kid Schlocko passes this along:



Behold the beauty of Al Williamson and Frank Frazetta.

Nikki Finke has Bill Mechanic's speech here.

Cousin Trevor points us to Amanda Fucking Palmer who tells you like it is now and in the future.

Jim Henshaw blows shit up good.

And compared to this guy and what he's gone through - we are all pussies.

Read. Enjoy. Nut up or shut up.

I'll expect your reports on my desk by the end of the weekend. I'll try to make it to Long Beach, but no promises.

This has Been My Experience As Well...

From Denny O'Neil at Bleeding Cool :

Sorry. Writing is self-taught. You acquire the skill by applying the seat of your pants to a flat object and moving a stylus across paper or tapping a keyboard, and you continue to do that until someone begins paying you to do it, and then you spend the rest of your life teaching yourself how to do what you’re doing. It is often a lonely life–you can get help before and after, but not during–and if the notion of closing a door behind you and manipulating verbal and visual language for many hours every week is abhorrent to you, then perhaps you would be happy applying your skill and intelligence and enthusiasm elsewhere.

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Add to this that life is going to get in the way, try to derail you at every turn, and will sometime succeed for the moment. But if it wins in the end and you stop writing don't whine. You weren't a writer. It's all right.

But if you keep getting up off the mat and get back in the fight then you need to work on your one-two combination and your upper cut.