Expired Artistic License…

I’ve been eating and sleeping HorrorCon, since the middle of the summer. When you’re so engrossed with something like this, it really becomes who you are. You try and work it into every conversation, you see the entire world as less of a place where people live and work and more like a collection of possible shooting locations, and when you’re not slowing down your brain with beer, wine and television sports (the only thing that works, films and dramatic TV have the opposite effect), you’re planning, executing and planning some more.

And you know what…it’s not getting old.

I’ve been a writer for over half of my life and a musician for…hmm, let’s see…(grabs calculator)…for 116% of the time. No wait, that’s wrong…(grabs calculator again)…right, sorry–I’ve been a musician for 88% of my life. But this filmmaking stuff; this is awesome. It involves all of my interests at once! And I’m a social bird for the most part, lucky to be blessed with the discipline to sit down, alone, and work things out. But it’s been a joy to communicate with some really great people and bring them into the HorrorCon fold. Seriously, the hardest thing about all of this today is what was hardest after my first email casting call: not being able to work with everyone. It sucks, it really does.

It even sucks more than having Warner Brothers turn down my proposal for licensing about three minutes of audio from The Lost Boys. I have to confess that, when I wrote the scene where I wanted to use it, my brain didn’t allow me to think I wouldn’t get it. It just said, “Go on, son, the world will open up to you because your screenplay is obviously the greatest cinema blueprint in the history of no-named, nobody, fledgling filmmakers!” Well, to be fair to myself, I doubt they even looked at what I sent. They likely had their own reasons why they didn’t want to get involved, impossibly entangled in eye-dotting and t-crossing legal-eze. Which is all fine and peachy, but what do I do now?

I contact G Tom Mac (Gerrard McMann), of course. His song “Cry Little Sister” opens the film, and if I could get that incredible tune, I could use it to suggest my characters are watching the move in question. I’d also be more than willing to place the new, “cave mix” version (see below) somewhere else in the film, or even over the closing credits! Surely, G Tom wouldn’t mind lending a little help to a huge fan (I really am) who’s never made a single movie in his life but has written the greatest cinema blueprint in the history of no-named, blah, blah, blah, etc. Right?

Well, I’m still waiting. Once I was able to track him down, to G Tom’s credit, he’s been helpful and even open to my idea. We’re even friends on Facebook now, and you all need to go get his new record because he’s a fucking genius. And just so you know, if for some reason he runs into trouble and his people turn me down, I’ve got a couple back-up plans. One of them involves rewriting the script and losing the entire Lost Boys connection, which in a way would be very sad. I love that movie with all my heart, and if you’re a fan you should watch it again with Joel Schumacher’s commentary. Just brilliant. But if I have to let it go, it could mean introducing the fantastic Barbara Steele into proceedings. And folks…in the history of no-named, nobody, fledgling filmmaking, I’m sure worst concessions have been made.

Not much else to report. I’ll be shooting my video for the Kickstarter campaign tomorrow, and will likely have the crowd-funding page locked and loaded by Friday. If I get that much done, I’d say we were running right on schedule.

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