by Jovanka (Jen) Vuckovic

“What it comes down to is two words: creation and imagination.”
– Clive Barker

You know his name, you know his movies, and you damn well better know his books. Twenty years ago, Clive Barker redefined horror literature with his infamous Books of Blood; a genre-shattering, breakthrough collection of abbreviated nightmares in print. His fantastic tales were a masterful blend of extreme horror and poetry of the perverse, comparable to the best of Poe and de Sade.

His six controversial anthologies, of course, were a huge success and lead Barker to a rightful seizure of horror’’s cinematic throne just three years later with Hellraiser,– the highly influential, flesh-wrecking slice of sadistic cinema and unholy nativity of Pinhead, one of the genre’’s most intriguing and enduring icons.

Nevertheless, over the last decade, Barker has been criticized by genre fans for abandoning horror in both literature and cinema, his last directorial effort having been 1995’’s Lord of Illusions. But a closer look at his body of work reveals that, despite varying subject matter, he’’s never really left us at all. Now armed with a bloody bible of new material and grand designs, Clive Barker is poised to reinvigorate the genre in the way only he can.

Like the great William Blake, Barker is an artistic polymorph; whether it be painting, poetry, erotica or horror, his monolithic imagination has always addressed the strange, dark and unusual– right on through to Abarat, his new series of children’s’ fiction. Whatever artistic discipline he expresses himself through, Barker always dives deep into the dark waters of his soul for inspiration, fearlessly exploring its boundless depths.

Barker comes full circle with his film label Midnight Picture Show, a collaboration with Anthony DiBlasi and Joe Daley, the creative team behind Barker’’s Seraphim Films (Saint Sinner, Lord of Illusions). The new genre-specific, hard horror label plans to produce two films per year taken from the Books of Blood anthologies, with the purpose of creating and entire library of movies aptly-titled the Films of Blood.

Beginning with Midnight Meat Train,– a cannibalistic tale of subway train terror from the very first volume,– MPS plans to follow up with a delicious assortment of Blood stories including Pig Blood Blues, Age Of Desire, In The Flesh, The Madonna, The Life Of Death, Jacqueline Ess and Twilight At The Towers.

In addition to producing the Films of Blood, Barker also plans to return to the director’s chair with Tortured Souls, a new movie based on his McFarlane line of toys. And if you’’ve been turned off by the fantasy literature that the author has been pumping out over the last ten years, a new anthology of collected shorts and poetry –– which includes a story that will spell the death of Pinhead –– is the violent Viagra pill you’’ve been waiting for.

SuicideGirls communed with Barker in a frank and intimate talk on everything from his struggle to get the Books of Blood published to his fear of dying. Sit down, eavesdrop…

Read our interview with Clive Barker on SuicideGirls.com.

by Daniel Robert Epstein

“I would like to see a film review show like mine where they ask questions that are of substance and are not just vanity questions where the guest can talk about how great they are.”
– Henry Rollins

Of all the outspoken rock musicians out there in the world Henry Rollins probably ranks in the top five. There are even fewer that are so outspoken that they need to do hundreds of spoken word shows all over the world in order to get everything they want to say out. In fact Rollins has so much to say that in addition to his weekly radio show, he now has a movie review show, called Henry’’s Film Corner, on the Independent Film Channel once a month. In addition to some amazing interviews, the first show has David Fincher. Rollins will review movies in a true punk fashion. He absolutely rips apart the movies he hates and praises the ones he loves to no end.

Read our interview with Henry Rollins on SuicideGirls.com.

by Aaron Colter

Wild Children by Ales Kot and Riley Rossmo is one of the bolder comic releases of late. With an industry still stuck in rehashing old characters and making blockbuster movies, Image Comics has given two independent creators the opportunity to publish a graphic novella that is equal parts teenage rebellion and conceptual reality.

SuicideGirls reached out to the creators to talk about the inspiration behind the book, since any review of it would contain spoilers. If you’ve already read Wild Children, this should give you some insight into the creative process behind the title. If you haven’t, don’t worry. This interview should give you enough reason to check it out soon at your local comics shop.

Aaron Colter: Ales, what made you want to write a book like this?

Ales Kot: About twenty different things, really. As with almost everything, the origin of Wild Children can be traced to my childhood. My parents led me to question authority and desire to understand things as they truly are, and not just as they are presented. I took it a bit further than my parents expected. I loved school in the beginning, but the overall atmosphere of it quickly unfolded itself as a prison-like structure created to build docile citizens that would perpetuate the already dead dream of capitalism and infinite growth. Pair that up with the messy divorce my parents went through when I was about ten, and I quickly realized things were much more complex than the teachers were saying. So I began questioning them, first with an honest interest, and then eventually just to piss them off, because being nice never got me anywhere with them – except for the few that were at least partially aware of the absurdity of the system they were both facing and keeping alive.

AC: Riley, what made you want to draw this story?

Riley Rossmo: Young people get often painted poorly in the media – either as violent geek shut-ins about to snap, or nymphomaniac cheerleaders. But the range is so much greater. Young people can be brilliant, well-intentioned individuals. Wild Children addresses some of that, it doesn’t fall back on typical teen archetypes.

AC: Following the tragedies in Colorado and Wisconsin, are you worried that Wild Children will be seen as insensitive or promoting violence?

AK: Not at all. Wild Children is not a cheap army propaganda-style FPS like Call of Duty. Ultimately, it will be whatever people decide to see it as, but that’s beyond my reach. The intent is not there, and we don’t care about cheap sensationalism, although the comic kind of invites it.

Anyone who uses fiction as a crux when explaining their own stupid decisions — “The Devil in the Comic/Game/Movie/Music Made Me Do It” is a person that needs therapy, and lots of love and patience. Anyone who supports that logic will likely require the same.

AC: Were you both rebellious kids? Did you get in trouble in school a lot?

RR: Yup. I couldn’t handle people telling what to do without giving me a reason. I loved reading, so I’d read all the assigned books, but thought it was a huge waste of time to regurgitate my thoughts in essay form. I was pretty angry – mostly I would skip class, go to the arcade and play video games or paint, draw or silk screen. I had a couple great art teachers that would let me do art in their classes, even though I was skipping other classes to be there. I liked girls – they were probably the biggest draw. And it was the best place to go to when you wanted to acquire anything illegal. Very little learning happened in the class.

AK: Yeah, once I hit a certain age, I definitely did my best to get in as much trouble as possible. It’s not that I wanted the trouble – I just wanted to show that I didn’t care for the fake rules and spineless non-authorities, and that they wouldn’t put me down. A history teacher once gave me a verbal test in front of the entire class because she suspected I was off my tits, and I got B+, although I should have gotten an A. Nearly everyone in the class knew about my state, so it’s still one of my fondest memories. Apart from that, I skipped school a lot, first because I simply hated it and was bullied, later because I just wanted to hang out with girls or read somewhere quiet on my own. I remember a school where some schoolmates used to do speed off the toilet boards, sex in class, things on fire…the first time I had a gun pointed at me was in front of the first school I went to. So I guess there was some trouble, yes.

AC: Are either of you familiar with the concept of brain-hacks? Essentially tricks to shape your reality. A new book called D.I.Y. Magic by Anthony Alvarado touches on some of these notions. I ask because Wild Children talks of magic. Are either of you interested in magic on any sort of level?

RR: I love magic. I like street magic, metaphysics, performers that use misdirection in new ways. I think there’s a lot more out there than I can conceive of. There’s so much in the world that can’t quite be coincidence, or chance.

AK: Oh, absolutely. I hack my brain – more accurately, my entire being – and Wild Children is definitely a brain hack, or at least an honest attempt at one. I meditate, explore reality, observe how my mind shapes it, do my best to learn as much as I can and then implement all the new tricks into my daily life. I haven’t heard of D.I.Y. Magic, but I’m going to read it now. I’m currently reading Colin Wilson’s The Occult for the first time and it’s a crucial experience. I don’t think there’s any difference between what we call magic and what we call science. It’s just about seeing the hidden strings and learning how to operate them. Words and pictures are some of the strongest magical/scientific properties in our daily arsenal, because they shape the reality we live in to an uncanny extent. And, as Harvey Pekar said, you can do anything with words and pictures…Magic. It’s fun. Take it seriously. Like it’s science. Because it is. Just work to see the hidden threads.

AC: The notion of comics being a separate reality or a meta-world within a world that we create is something that’s very Grant Morrison in ways that resemble his work The Filth and even concepts in The Invisibles. What other comics inspired this project?

AK: Kill Your Boyfriend by Grant Morrison and Philip Bond – a great story about teenage revolt that I loved as a kid. It’s very similar to Badlands and Natural Born Killers, it’s angry, it’s fresh, it’s short, and it packs a punch. I loved that comic, and it came out in the same format as Wild Children – a short graphic novella. I also thought about Shoot, the long-unreleased Hellblazer story about school shootings that DC Entertainment shelved back in the day because it was about to be released just as Columbine shootings happened. I disagreed with that decision – the comic wasn’t sensationalist at all, and it had some important things to say. When I conceived of Wild Children, I wanted to combine these two comic books into a new one, into a graphic novella that would feel truly 2012 while paying its respects to the stories that influenced its birth. Casanova and the brave way it approaches itself and the medium. Asterios Polyp for some of the more theoretical stuff in the middle. John Smith’s writing influenced the ending. Graphic novellas by Alan Moore, Warren Ellis and their collaborators. There are some nods to Frank Miller’s early work in the beginning. Dash Shaw’s work. Matt Seneca’s webcomix – I love Affected – and his comics theory as well.

The inspiration related to Wild Children hit from many different sources. Filmmakers like Cronenberg, Lynch, Godard, Kubrick and Tarkovsky were instrumental in forming my approach early on, and they still influence me a lot. Music by Flying Lotus, Fuck Buttons, Pictureplane, Aphex Twin, DJ Rupture, Kode 9, Burial, Coil, early Marilyn Manson. Al Columbia’s art, anything Brandon Graham does. Books by Hakim Bey, Robert Anton Wilson, Kenji Siratori, Jorge Luis Borges, P.K. Dick, Douglas Rushkoff and others. Some of the ideas in Rushkoff’s Life, Inc. influenced Wild Children quite directly.

AC: Something else that comes across in the book is that all of the adults seem threatened by teenagers, who are, for the most part, harmless on a large scale. Do you think society is afraid of teenagers in real life? If so, why?

AK: It’s quite clear that some parts of our society are afraid of teenagers in real life, yes. People who are shriveled inside, whether they’re physically young or old, forget to question things, and live in their temporary sand castles, often doing everything they can to keep them standing, regardless of how much harm that imposes on everyone and everything else. The teenagers inevitably belong to our society, and it’s often quite impossible to destroy their idealistic energy right away.

It’s not exactly correct to say that only young people push things forward – it’s people with a young attitude, wanting to learn, to discover the world, be in awe of the universe, that make the world a better place to live, and help us all evolve. But we’re often taught to expect the worst – 31% of Americans are likely to suffer from an anxiety problem at some point during their lifetimes – and when we’re worried or downright scared, rules make us feel safer, however temporary that illusory safety is. And rules are, by and large, something the new generations seems to have less and less use for. “Chaos is evil, rules are good.” is an excruciatingly stale narrative. The world is much more complex. Question everything.

AC: As bad as our generation may have it, there may be less opportunities for those just now starting to grow up. Why do you think more students in America don’t demand access to education in the same way students in other countries have?

AK: Because they don’t believe in the system, perhaps? I’m genuinely not sure if I can answer this question well enough, but I’ll do my best. I imagine that a huge part of it is the fact that we’re observing the collapse of capitalism, and whether we want to acknowledge it or not, we know that’s what’s happening. We’re offered a choice between a guy that believes that corporations are people, supports penalties for doctors who perform abortions, won’t release his tax returns and most likely would perform fellatio on a pig for a nickel, or a guy that supports extraordinary rendition, secret kill lists and illegal spying on the people he swore to serve and protect.

AC: If you could give you teenage self one piece of advice, what would it be?

RR: Make more art, and let your anger go.

AK: Do what thou wilt shall be the whole of the law. Wink, wink, wank.

For more information visit:
aleskot.com/
rileyrossmo.com/
imagecomics.com/

[..]

by Nicole Powers

Amanda Palmer is truly an artist of and for the people – sharing her heart, soul, and music with an unparalleled generosity. Going it alone without the backing of a record company, she went cap in hand to her fans via Kickstarter asking them to support her first post-label “big, legit, studio album undertaking” to the tune of $100K. Thanks, in part, to the unique and very honest rapport the former Dresden Doll has with her fanbase, the response was massive; she covered the requested amount nearly 12 times over – raising $1,192,793 via 24,883 backers. The resulting album – Theatre is Evil – was unleashed via Palmer’s own imprint, 8 Ft. Records, on September 11.

To appropriately mark the release of her much anticipated first full-on full-length in four years, Palmer and her newly assembled Grand Theft Orchestra have embarked on a two month-plus North American and European tour. SuicideGirls attended the official record release party on Tuesday September 11, at Webster Hall in NYC. The show, which was the second date of the tour (the first being in Philly the night before), was simultaneously webcast globally via YouTube.

The bulk of the show was quite rightly taken up with the new tracks, which ranged from raucous rock-infused ditties (“Olly Olly Oxen Free” and “Do It With A Rockstar”) to post-apocalyptic alt cabaret (“Smile: Pictures or It Didn’t Happen”), to new wave pastiches (“Want It Back” and “Bottomfeeder”), to songs so beautiful that they would have broken our heart had it not already been smashed to smithereens (“The Bed Song,” “Berlin,” “Trout Heart Replica” and “Grown Men Cry”).

The band, her phattest to date – complete with revolving volunteer string and horn sections (which vary from date to date) – sounded epic, while Palmer was completely in her element. She conversed intimately with her audience, shared their secrets via a confessional note box, and, during songs, hopped from keys to drums to guitar – and then off stage. Indeed it seemed fitting as an artist of the people, that she surfed the audience with such art, ease, and elegance on more than one occasion.

Having made grown men and women laugh, cry, and rock out in the extreme, Palmer drew her triumphant set to a close with “Leeds United” – a personal fave of this humble scribe. Judging by the raw emotion exuded by the crowd en mass, we could tell we weren’t the only one in the room that had loved and lost. The glee with which the packed house joined in with the unlikely anthemic chorus verged on indecent. But, indeed, “Who needs love when there’s Law And Order? And who needs love when there’s Southern Comfort? And who needs love when the sandwiches are wicked and they know you at the Mac Store?”

And who needs love when you can have a night out – or in – with Ms. Palmer?

…Talking of which, download your copy of Theatre is Evil – NOW for FREE – like immediately!

A pioneer in the *awkward* area of downloading, Palmer pragmatically balances her need to finance her creativity with the realities of intellectual property and commerce in the digital age – not to mention in these tough economic times. All she asks is that you observe the honor system – no questions, no judgment. Leave a little in the virtual tip jar if you can afford it (or when you can, if you love it). Then do what the lady says, and share it with a friend. They’ll be grateful you did, as will Ms. Palmer, since you can’t put a price on new fans!

Related Posts
SG Interview: Amanda Palmer – Evelyn Evelyn
SG Interview: Amanda Palmer – Rebel With A Cause

by Daniel Robert Epstein

“I think that it is very rare to find this kind of absolute love.”
– Audrey Tautou

Audrey Tautou is a sweet petite thing. She is a so beautiful and charming. It is easy to see why Jean-Pierre Jeunet first cast her in the sweet and tender Amelie and again in A Very Long Engagement as Mathilde.

A Very Long Engagement is set in France near the end of World War I in the deadly trenches of the Somme, in the gilded Parisian halls of power, and in the modest home of an indomitable provincial girl. It tells the story of a young woman’s relentless, moving, and sometimes comic search for her fiancée, who has disappeared. What follows is an investigation into the arbitrary nature of secrecy, the absurdity of war, and the enduring passion, intuition and tenacity of the human heart.

Read our interview with Audrey Tautou on SuicideGirls.com.

by Lee Camp

Look around you. Are there zombies? Are there vampires? If you answered yes, then maybe you don’t need to watch this video. If you answered no, then I’m about to change your mind…or eat it.

[..]

by Fred Topel

“We got a little bit derailed because of Sex and the City.”
– Jessica Elbaum

Women in Hollywood have made monumental strides in the last year, with the success of Kristen Wiig’s Bridesmaids and Lena Dunham’s Girls. What you don’t hear as much about is that there have been equally major advances for women behind the scenes.

For example, at Gary Sanchez Productions, the production company of Will Ferrell and Adam McKay, a woman holds a major executive position. Jessica Elbaum produced the Sundance hit Bachelorette, which was written and directed by Leslye Headland. The film became the number one pre-theatrical download on iTunes in August. It plays theaters this month and you can still get it online or VOD.

Bachelorette stars Kirsten Dunst, Lizzy Caplan and Isla Fischer as high school friends who grudgingly play bridesmaids to their friend Becky (Rebel Wilson). The girls begin the film as angry, resentful, promiscuous, and/or addicts (some combination of the aforementioned afflicts each character). The night before the wedding they cause a series of disasters that will take all night to fix, if they’re even able to before the wedding.

We got to chat with Elbaum by phone about her career as a female exec for some of the hottest comedy producers in Hollywood. She had a lot to share about the current climate for female-led comedy, her film Bachelorette, and the latest Gary Sanchez production, the long awaited Anchorman 2.

Read our exclusive interview with Jessica Elbaum on SuicideGirls.com.