American Horror Story 2x13 Promo "Madness Ends" (HD) Season Finale

American Horror Story 2x13 "Madness Ends" (Season Finale) - Johnny sets out to complete his father's work. Lana leads the charge to finally shut down Briarcliff. Written by Tim Minear; directed by Alfonso Gomez-Rejon. Airs January 23, 10:00 pm e/p.

Book: The Master and Margarita by Mikhail Bulgakov

On a hot spring afternoon in Moscow, a poet and an editor are discussing the non-existence of Jesus. A polite, foreign gentleman interrupts their debate, claiming to have known Jesus in person and to have been present when he was condemned by Pontius Pilate. Moreover, he predicts the editor’s death – a bizarre accident which happens exactly as the foreigner foretells. The Devil has arrived in Moscow and, along with his demons and a large black cat, he carves a trail of chaos and destruction through Soviet society. He exposes the hypocrisy and greed of those around him, their willingness to inform on neighbours, their urgent scrabble for power and their fear for themselves. One man seems different: a writer known as ‘the master’ who, in despair, has burned his unpublished novel about Pontius Pilate and has been incarcerated in an asylum. His lover, the passionate, courageous Margarita, will do anything to save him – including serving the Devil himself.

Writing The Master and Margarita in secret between 1928 and 1940, through the period of Stalin’s purges, Bulgakov was already deemed anti-Soviet; his plays were banned, and he had few illusions that anyone would publish this highly satirical work. Like his main character, he destroyed a draft in despair. Yet, as the Devil tells the master, in a phrase which went on to become a watchword of hope: ‘Manuscripts don’t burn’. In 1966-7, more than 25 years after Bulgakov’s death, The Master and Margarita was published with relatively minor cuts. Smuggled past the censors, its subversive message, dark humour and lyrical force combined to make it an instant success and a beacon of optimism and freedom that spread through Russia and the world. Peter Suart’s dramatic illustrations provide a fitting accompaniment to what is one of our members’ most requested titles.

Buy The Master and Margarita at The Folio Society


Introduced by Orlando Figes.
Book Illustrated by Peter Suart.
Translated by Richard Pevear and Larissa Volokhonsky.
Bound in buckram.
Blocked with a design by Peter Suart.
Set in Joanna.

The Vampire Diaries 4x10 Promo "After School Special"

"After School Special" - Appearing unexpectedly at Mystic Falls High, Rebekah (Claire Holt) wastes no time trying to force Stefan (Paul Wesley), Elena (Nina Dobrev) and Caroline (Candice Accola) to answer her questions about the search for a cure, leading to a bombshell piece of information from Elena. When Bonnie's (Kat Graham) father, Rudy Owens (guest star Rick Worthy, 'Supernatural'), accepts the role of Interim Mayor, he makes it a priority to protect his daughter, who isn't at all comfortable with the role he suddenly wants to play in her life. Professor Shane (guest star David Alpay) continues to encourage Bonnie to believe in her powers, but he soon finds himself in danger when he reveals too much to the wrong person. Later, Caroline does her best to comfort Tyler (Michael Trevino) after a violent confrontation. Meanwhile, at the lake house, Damon and Matt (Zach Roerig) train Jeremy (Steven R. McQueen), trying to raise his game as a hunter, but Klaus (Joseph Morgan) is impatient with their progress and intervenes to speed up the process. David Von Ancken directed the episode written by Brett Matthews (#410).

Book Review: Good Gladys - Embrace the Dead by Martin Renaud

Good Gladys Embrace the Dead.
by Martin Renaud.

It was an easy to read book, ideal for a read on holiday for instance.

I liked the main character "Sauce", he had his problems but curiosity got to him and he took on the investigation with a lot of encouragement from Dara.

The plot is unusual and there are quite a few twists and turns which are unexpected.

The main characters were all good and fitted in well with "Sauce". I did not like the inclusion of the two young boys in the abduction though, it left a bad taste to the story, although that is just my own personal preference, each person will take something different from this part of the story.

I think there could be further stories to be written involving  "Sauce" and "BT" working together. I would recommend this book to anyone that likes a light murder/mystery, without all the blood and guts of some books that are out there.

Review by @SusieD


Official Description

A murder mystery with a psychic twist.

News reports that the famous psychic Good Gladys is missing coincide with the brutal stabbing of her business manager. Gladys's daughter Dara asks an old friend, private investigator Byrne Aase, to help find the murderer. She claims that the man the police have in custody is innocent. In fact, she believes that the accused is her mother, having been transformed into a man during a seance gone awry.

Excerpt:

“Remember that day we left for St. Martin?” asked Dara, sitting down on the edge of the sofa. “I took you home, just before we left, so I could pack a few clothes for the trip. You met Mummy and talked with her while you waited for me.” Sauce turned and raised his eyebrows. “Good,” she continued. “Do you remember the first thing you said to her?”
“No, but I hope she took offense.” 

“It was perfect. Mummy asked you some self-aggrandizing question like, ‘How do you like the place?’ You looked her in the eye and—oh, I loved your answer so much it was etched in my memory. You said, ‘Bankruptcies and broken families from your thievery is all I see.’” Dara paused, and Sauce smiled. “You despised what she was doing as much as I did. But like me, you didn’t hate her.” 

“I didn’t? You don’t know that,” challenged Sauce. “I certainly knew enough about her, from the talk shows and celebrity gossip in the news, to hate her. ‘Good Gladys, psychic to the stars’ they call her. I can predict the future better than her. Believe in Gladys’s ability to talk with the dead and she will stay in your life until you are out of money. Gladys is the kind of person people either love for the wrong reasons, or hate for the right ones.”
“I never said you loved her. No, I agreed with Mummy that you are much more useful to us than a fawning admirer or a starched-shirt, lawyer-for-hire, yes man. You understand her.” Dara smiled. 

Sauce tried to resist the manipulation. “Here’s the best I can do. Leave, and I’ll mull it over. I promise I won’t say no until I call you tomorrow.”

Print and Kindle versions

American Horror Story 2x12 Promo "Continuum"

Director John Luessenhop and Bill Moseley Talk Texas Chainsaw 3D (Interview)

American Horror Story 2x11 Promo "Spilt Milk"

Grace brings Kit devastating news about the aliens' experiments on Alma. Dr. Thredson receives an unexpected visitor. The Monsignor goes to extreme lengths to silence Jude. Written by Brad Falchuk: Directed by Alfonso Gomez-Rejon.

The Walking Dead 3x09 Promo "The Suicide King"

The Walking Dead 3x09 Promo #2 "The Suicide King" - Several seconds of new footage showing Daryl with a knife, Carol and another person being shot at, a woman with a baby being attacked by zombies, and alternate Rick/Carl/Michonne scenes.

The Vampire Diaries 4x10 Extended Promo "After School Special"

Interview with John Dods By David Kempf

Interview with John Dods

By David Kempf

Horror and special effects artist John Dods has been described by CNN as “one of the world’s foremost masters of disguise.” Dods has worked on such great cult favorites as Don Dohler’s NIGHTBEAST, SPOOKIES and the unforgettable DEADLY SPAWN. He did the makeup work on the TV Horror hit Monsters and Broadway’s BEAUTY AND THE BEAST. John studied under Academy Award winning makeup artist Dick Smith (The Exorcist) and began a successful career in mainstream film.

The movies he worked on include POLTERGIEST III, GHOSTBUSTERS II, DEATH BECOMES HER, THE X FILES and ALIEN RESSURECTION.

Most recently, Dods was the prosthetics makeup designer for the Broadway production of YOUNG FRANKENSTEIN by Mel Brooks.

As a lifelong fan of John’s articles in Cinemagic Magazine and his work in general, it was a real pleasure to interview him.

John Dods INTERVIEW

Tell us how you came involved in makeup and special effects.

When I was 10 years old, I produced and directed "The Wizard of Oz" in the back yard. It had makeup and special effects galore - such as they were. My Alice In Wonderland had been so well received the previous year, that I went for broke with Oz. There were 15 neighborhood children were in the cast - all in costume - and the famous characters - Cowardly Lion, etc were all present. The "Tin Man" was actually the Aluminum foil man, The Cowardly Lion was me in dyed long johns and a rubber lion mask, etc. The adult audience seemed to enjoy the sight of small children putting on a show. I thought then that I would grow up and direct shows on Broadway, and for years, each summer of my childhood I staged one or more shows or "Spook Houses" - usually in the basement.

My parents were very supportive and they always gave me a place to be creative. Later I realized that I was too introverted to be a Broadway

director and that I better enjoyed the more solitary life of a stop motion filmmaker. But I never stopped loving live theatre and it come back into my life later in a big way.

How many short films have you made?

I've made three short films and am now working on a forth. GROG (1970) was my first - a 5 minute comedy which introduced the Grog character who appears in all of my films. I had started to shoot GROG in 8mm Kodachrome, but was miserable with the poor image quality of 8mm. So I began to save for a 16mm Bolex camera. This took me a year - while I worked at Macy's department store. The new 16mm footage was exhilarating - the registration was rock steady,

and the sharpness and grain looked nearly as good as the 35mm prints I saw at my local movie theatre. My next film was FOREST STORY - which I worked on for years. Because I was learning, I shot on a very high ratio - about 6 to 1 - often rebuilding the models and sets in order to improve the footage and learn all the craft skills needed by a model maker and miniature set builder. I worked on FS for years but then left it sitting on a shelf while I had several careers in practical effects for film, TV, amusement parks, and theatre. FS sat for 30 years

I went back to it recently and finally finished it using new digital technology to do the post production. Now, I'm working on GROG RETURNS which will be animated with stop motion photographed with HD digital still cameras.

Tell us about your work with the late cult director Don Dohler.

In 1972 Don asked me to write for his new magazine Cinemagic. He had seen an article on my short film GROG in the Bolex Reporter Magazine and wanted to do a feature on it himself; that article appeared as the cover story of Cinemagic #2 in 1972. I wrote for Cinemagic for many years after that and Don and I became good friends. Every year, I would go down to Baltimore for the annual Balticon Convention to screen GROG and later the unfinished FOREST STORY and visit with Don. In 1979 He asked me to create the monster for his second film production NIGHTBEAST and that became my first paying job in filmmaking. Don made a long series of extraordinarily low budget features and got each one of them distributed. Although these were not "good" films by conventional standards, Don became an inspiration to Do It Yourself filmmakers by proving repeatedly that it was possible to make a film for a few thousand dollars and get it distributed. Today, Don Dohler is legendary among independent filmmakers. An impressive roster of the NIGHTBEAST crew members went on to very successful and prominent careers in film production- perhaps the best known of these is producer/director J.J. Abrams - who wrote music for NB. Although Don and I went in very different directions after NIGHTBEAST, I remember of all of my projects with Don as exciting adventures.

Please tell us what it was like to learn your craft under Dick Smith.

I was nearly 40 years old when I decided to take Dick Smith's Professional Makeup Course and finally fulfill an old ambition to learn how to do prosthetic makeup. I was already a somewhat competent sculptor and mold maker,

but had never learned the techniques and materials specific to "special effects makeup" - that's a term which was invented to describe the work of Dick Smith, whose astonishing creations for ALTERED STATES (1980) and THE EXORCIST (1973) had expanded all previous conceptions what a makeup artist might contribute to a film. It was a mail order course and the actual interaction with Dick was normally minimal, but Dick started recommending me to the producers of the MONSTERS television series ('88-'90) - on which he was the "Special Makeup Consultant" .One episode, "Holly's House" led to many others - 18 by the end of the shows 3 year run. There was so much work that It was like having an entire career in 3 years. I thought that it was the best job imaginable. They would

send me piles of scripts and let me pick which episodes that I wanted to work on. Each season of that show was like Christmas for me -I created prosthetic makeups, mechanicals and puppets, and even filmed a stop motion mutant rat for the "Stressed Environment" episode.Dick advised me on many of my episodes, and personally designed the monsters for 2 of them - "Holly's House" and "The Gift" (written by Dick's son David). We often spoke on the phone or met at his house in Larchmont, New York. Dick had no professional secrets

and shared his expertise freely with everyone who asked for help. His curiosity about finding new and better ways of doing things was boundless, inspirational, and exciting to be around. He would talk with as much enthusiasm about Danny Kaye movies or the physicist Richard Feynman as he would about silicone prosthetics or new ways of coloring foam rubber. Working with Dick Smith

made me a better makeup artist and, I think, also a better person.

Do you enjoy mentoring other special effects artists?

I've been influenced by Dick Smith to freely share my knowledge with others. A lot of people in the film business have told me that my instructional articles for Cinemagic, Fangoria, Starlog and other magazines over the past 30 years have inspired or helped them in some way. That's wonderful to hear. I'm not sure that anything I do rises to the level of "mentoring" but I try to help anyone who asks for it.

How many plays have you worked on?

About 6 shows - all musicals… A few of those were such big successes that they kept me occupied for many years, designing and fabricating prosthetics. Right after "Monsters", I was asked to work on Disney's first Broadway show "Beauty and the Beast" in 1990. That came out of the blue because I had not been trying to get into New York theatre. I loved it and B&B was a gigantic worldwide hit and my involvement - making masks and prosthetics for eight characters - became an 18 year long occupation. We made over 50,000 prosthetic pieces for companies all over the world. "Mel Brooks Young Frankenstein: The Musical" followed B&B directly and also ran for years - I am the "Prosthetics Designer", and "The Toxic Avenger Musical" (Prosthetics and Special Effects Design by John Dods) must still be running somewhere - although I'm no longer involved. "A Christmas Carol" returned every Christmas at Madison Square Garden for nearly 10 years. I did the head casts for "Phantom of the Opera" on Broadway for many years (Chris Tucker in England created the prosthetic pieces). My work in theatre has completely satisfied my childhood yearning to work on Broadway shows and I continue to work in theatre occasionally.

Are there significant differences between working on your own films and working for other filmmakers?

They're very different. When I'm hired, then my only job is to help the client to create whatever it is that he want s to see; my creative input may as a designer or it may be only as a fabricator - and there is always a deadline. I'm happy to create someone else's design if that's what the job calls for - it's not always

creatively juicy but I get plenty of creative fulfillment from many personal projects. Today, I'm mostly working on my own projects. I only have to please myself so I can do whatever I want without deadlines.

Tell us about your daily (or nightly) working routine.

Although I try hard to avoid work entirely, my inner demons keep driving me to be productive. I spend much of the day at the computer, editing movie footage, or trying to upgrade my graphics art skills, or checking to see how many of my Facebook friends have "liked" the photo I posted. I have several elaborate stop motion models under construction for my film project GROG RETURNS so I try to move that project forward - I just made several silicone molds of cores and teeth for two new Grog models. I also have a beautiful house, three cats, and one partner - all needing frequent attention.

What do you feel is your greatest accomplishment as an artist so far?

I still love much of my work on THE DEADLY SPAWN. "Beauty and the Beast" features some of my best sculpture work - especially on the "enchanted" characters - Cogsworth, Lumiere, Wardrobe, Chip, etc. My prosthetics and hair work for the1,000 year old gnome for the "Household Gods" episode of the "Monsters" TV series looks good to me. The "Ice-Age" miniature set which I supervised for the "Back To the Future Ride" (I had a crew of 6 talented sculptors) turned out very well. FOREST STORY is the only thing I've done that made me use everything that I know how to do - writing, directing, editing,

and all of the crafts skills you need to do a stop motion film by yourself. Filmmaking is my passion, so it's gratifying that at age 65 I have come full circle to resume the work that I began as a teenager and always saw as unfinished business.

How do you come up with the original monsters you create? The Deadly Spawn certainly comes to mind.

I use no reference material when I design an original monster - when I'm actually designing the shape and form of an original character. I'll study nature for texture and detail but not for shape and form - that has to out of my head. It's too easy for me to give in to the temptation to copy the great work of other artists if I have pictures of their work thumb tacked to my studio walls. The Deadly Spawn designs were a conscious effort to avoid the "man in the rubber suit" look which

had dominated the horror genre since the early 50's. Even a masterwork like the Creature From the Black Lagoon looks like a man in a suit and I was tired of seeing that. On the other hand, something real - like a realistic dinosaur -

is different in that anatomy has to be researched and reference materials used.

Since you do so much prosthetics work and build mechanical creatures, do you miss the old style effects prior to CGI? Ray Harryhausen's stop motion animation comes to mind. As does the beautiful matte painting work of Albert Whitlock he did in many movies. I know you are very familiar with the painful and patient joys of stop motion animation.

I love Harryhausen and I continue to watch his films - as well as KING KONG ('33), and all the classic practical effects films. All of that great work is looking better than ever on Blu-ray. Today, practical effects have been largely replaced by computer graphics technology - which is increasingly spectacular. THE HOBBIT looks astounding. This change is permanent. We're not going back to the way things used to be done. I think that practical effects should marry the computer and live happily ever after. I'm creating practical effects all the time for my animation project, so I live in that world of "old school" physical reality every day. But the computer has become my most valuable helper and tool.

Name some of your favorite horror books.

I don't enjoy horror fiction nearly so much as the more optimistic visions of Science Fiction stories - Heinlein, etc. Poe, Lovecraft, and Robert E. Howard are the horror authors whom I frequently reread. Howard's "Pigeons From Hell" is a long time favorite. Poe and Lovecraft wrote with so much craft, style, and dark beauty that I find their work hypnotic. Poe and Lovecraft especially seem to me better than most other writers by far.

Name some of your favorite horror films.

How much time do you have! Hmmm…The visual German expressionism of the 20's, the Universal Horrors of the 30's – especially BRIDE OF FRANKENSTEIN and THE BLACK CAT, Val Lewton in the 40's, the great parade of giant monsters in the 50's, the colorful Corman/Poe and Hammer Horror series of the 60's, the 70's great trio of horror films for me is SUSPERIA, EXORCIST, and ALIEN.

I'm still catching up on the last 3 decades but DAGON, NIGHTBREED, 28 DAYS LATER, and the WALKING DEAD TV series come to mind.

Why do you think older low budget horror films remain popular?

The more entertaining works of 80's Do It Yourself filmmakers have found a new life and a new audience. DIY 80's horror films have now become a recognized genre - their grainy 16mm look is now forgiven, the obvious gusto and enthusiasm of the filmmakers is enjoyed, and the merits of the best of these movies is finally being appreciated. THE DEADLY SPAWN was widely panned when it opened in theaters in 1982, but today it is one of the best reviewed films currently out on DVD. Don Dohler's work today has a loyal fan base and Ed Wood's films are more popular than ever. The budget seems irrelevant if the film is entertaining.

What are your latest projects?

THE RETURN OF GROG is a short film project, and my graphics art project is a Grog "children's" book.

Please in your own words write a paragraph about yourself & your work.

I am a filmmaker, writer, and practical special effects non-specialist - that is, I've worked in many different areas of practical effects - prosthetics, cable control, puppetry, stop-motion, and miniature set construction - but never specialized in any one of them for very long. In 40 years I’ve only had one bad job in the business - I had to make synthetic sliced cheese for a Kraft commercial. I'm partly color blind and it was a nightmare because when you unwrap cheese it quickly changes color. They kept telling me that I'd got the color wrong. I had to turn that job over to someone else!

Apart from that one, I've had a lot of dream jobs and have finally reached my goal of working less hard than I used to and of putting work and life into a sane balance.

Links:

http://www.youtube.com/user/johndods

https://www.facebook.com/media/set/?set=a.1065266877084.11338.1388384845&type=3

https://www.facebook.com/media/set/?set=a.1093691147673.16451.1388384845&type=3