Thursday, 5 June 2014

Movie Review : Detention Of The Dead

What do you think would happen if the late John Houston and George Romero got together, and decided to make a movie? You would have the brilliantly clever and amusing film Detention Of The Dead by film maker Alex Craig Mann.

It's The Breakfast Club meets Zombies in the best, most entertaining way.

Not only is the story well written, but the production value, acting, FX, and directing are spot on.

Detention Of The Dead is definitely a movie to add to your collection, whether you are a fan of zombie movies or not.

That is why I am giving it a 5 skull out of 5 skull rating my dreary devotees.

Alex Craig Mann has managed to take a brilliant story that started it's life as a play I might add, and turn it into movie magic with the help of a spectacular cast and talented crew.

Be sure not to miss this one minions!

Friday, 23 May 2014

Interview: Film maker Eric Blue

In a world full of zombie movies, Eric Blue and Blue Lantern Films have dared to do something different!

That's right, my creepy cohorts: not zombies, sparkly vampires, lame emo werewolves, bad interpretations of skin walkers, fake demon possessions, or post-apocalyptic unbelievable nonsense. Can you say spooky, evil, American Indian legend in the ancient, sinister-looking Great Smokey Mountains? I can't wait 'til this movie comes out. It's been far too long since I've been frightened by a horror movie, and I'm pretty sure this is going to be the one to do it for me, minions. The anticipation of weeks of nightmares this movie will cause me has left me breathless. The movie doesn't come out 'til August, but when it does, freaks, make sure you give it watch. Until then, I think I will have to drink some nightshade, and lock myself in my tomb so I don't implode from anticipation.

Now, on to the important matter of the interview.  I had the pleasure of getting to speak to Eric about his film, Beacon Point, and the whole complicated process that is film making. I found Eric to be not only very passionate about making movies, but also very generous on his compliments to the people who helped make the film. Two things. my twisted toadstools. that are difficult to come by in the entertainment industry. Eric was such a great pleasure to talk to, and such a well of knowledge, that I could have spent hours speaking with him about Beacon Point and film making in general. Alas, our chat had to come to an end , but the following interview is the end result.

Lili's Lair: Lets talk about Beacon Point and how the whole thing got started.  You co-wrote Beacon Point with Traci Carroll. How did the two of you come up with such a unique idea?

Eric Blue: That's a great question. This is probably my sixth feature film script. I've written a number of different scripts. Three of them have been horror movies; none of them were actually made. This is my first feature film. So we wanted to write a film that could be shot on a modest budget, would have a compelling story and compelling characters. Like you said earlier, there are so many movies that I've seen that are just cookie cutter stuff [LL: Right..] Oh, this happens, that happens - you've seen it a million times. You know, we wanted to come up with something as unique as possible and compelling; but that was really the task at hand. "Hey, look, let's try and come up with something fresh, that's entertaining, and that we can do on a modest budget." And from that, we were like: "Well, the woods are free, and ya know the woods are scary, so lets start there." So it started with the woods, but I didn't want to go Friday the 13th with it or Halloween or Texas Chainsaw Massacre: we didn't want to go in that direction. Which, ya know, those are fine movies, but we wanted to do something a little bit more psychological horror, where it's a little more in your head. So that's really where it all came from.

Lili's Lair: And the whole Native American aspect of it? I mean, as a writer, I like to talk to other writers to see where their inspiration comes from.

Eric Blue:  So what we did was we started with: "Okay, we are going to do a horror movie in the woods." Well, I live in the south. I live in Atlanta and well we've got all these wonderful outdoor places, and the most iconic of all is the Appalachian Trail. So I said: "Well, let's take something really iconic, and the Appalachian trail is about as iconic as it gets in the southeast United States." So we started there and then I started looking on maps, seeing where the Appalachian Trail went, and it went right into the Great Smokey Mountains, which is the heart of Cherokee country. So we were like "Oooh - Cherokee Indians, that's a really cool culture and I'm sure they've got some really neat legends." So it kind of just like, you know, connected the dots and one thing led to another, and we found this really cool story that just kind of presented itself. It's never been done. You don't hear a whole lot about American Indian legends in horror movies, and I think it's a shame. They have some great stories and some great legends that are just fantastic that haven't been tackled. So that's really how all that came about. 

Lili's Lair: So I am assuming then because of the way your story went, that's how you scouted your location and decided on the Great Smokey Mountains and North Carolina?

Eric Blue: That's correct. We actually shot a lot of the movie in north Georgia as the Great Smokey Mountains; we were actually up on location in the Great Smokey Mountains for only a few days. A lot of the footage is from up there. We shot some really good scenes up there. Because of budgetary restraints, we actually shot a lot of the movie in North Georgia because it was a little closer to home, it was easier to get our crew there, and that's kind of the movie magic. You fake locations, but it's so close you can't even really tell. So there's shots of the vistas that we actually got of the Great Smokey Mountains, and when you see it, it's just stunning.

Lili's Lair: The time that you spent in the Smokey Mountains, was it creepy up there?

Eric Blue: It was so creepy. We got really lucky, and it was really foggy one of the days we shot up there. [LL: Neat.] So there was an actual fog in the woods, and you couldn't have asked for a better look for a horror movie. When you see it your jaw's going to drop. It is amazing how creepy the woods are with this mist going through it, and this women, Zoe, whose character is wandering alone towards the end of the movie through the misty mountains, and it's just really, really neat!

Lili's Lair: What about the casting? Working on a smaller budget with an indie film, did you use a casting agency?

Eric Blue: That's a really good question. Yes, we did use a casting agency. As a writer/director, after the story, casting is probably one of the most important things to do. We have all seen movies that have been miscast, and you're like: "Why is so-and-so in this movie?" So if you cast a movie wrong, or you cast actors that are not up to the challenge, you find yourself in a real bind later when you are editing. We were very fortunate. We ave a rock star cast. Everybody in the movie is just off-the-chart awesome. We went through a company called Big Picture Casting out of Atlanta , and they actually did a national search for talent and it took a good eight weeks to cast this movie. It took a long time. [LL: Wow!] I was super picky - very, very picky - about who I wanted, and we went through a lot to find the right people. And you know, it all payed off. We got such a great cast. We did our homework up front. We prepared and the payoff now with the acting, no it's not even acting, it's like these are the people, these are the characters. It's really cool!

Lili's Lair: Rachel is Zoe, I believe she's your star. She was brilliant in House of Good and Evil. I really appreciated her talent in that film. She really pulled off being a lunatic. I mean I believed she was a real nutter.

Eric Blue: First off, I loved House of Good and Evil. It's out on DVD, and for all your readers: go and check it out. Her performance in that movie, as you said, is stellar, and that's part of what got me on board with Rachel.This is a woman I need to work with. She is perfect for Zoe. So, she actually found me. We had this casting call, she emailed me and I almost deleted her email. I was getting a hundred emails a day of people wanting a role. You need to talk to the casting director you know? For some reason, I opened her email, I clinked on the link for her reel and saw her in House of Good and Evil. She blew me away, and she got the role. I mean, she fought for that role. It was really cool, and I'm so glad that I cast her, because she is amazing. Her and Jon Briddell are great! Two really good leads. They are amazing. The chemistry between them, the tension between them - it's superb. [LL: I'm excited to see!]

Lili's Lair: I've also noticed a commonality with indie films, that the script writer - well, at least one of them - also takes on the the roles of director and producer as well. Do you think that this is out of necessity or desire, and what was your reason?

Eric Blue: That's another good question. The propensity for doing that was: you are just starting in your career, especially as a director. It's really hard to find good material. It's really hard to find good scripts that you want to do, and you really don't have the money to go out and buy them. So, you end up teaching yourself to write and that's what I did, and I have been writing my entire life, so I gave up on trying to find the perfect script and I said: "You know, I have to write the perfect script." It took me five scripts to get this one that really, really worked, and that I was able to get funding for. But it really is a necessity. You've got such a small budget, you've got so few resources at your disposal like that at this indie level, that you've got to wear all those hats. You're gonna be the guy making the story work or making the phone calls or playing this, playing that. I mean, I was helping with carrying equipment on set. I was doing anything and everything I could to make this movie a success, and at the indie level. That's what's really cool. That you have this involvement. 

Lili's Lair: I'm really surprised that it took you so many movies to actually get the funding that you actually needed to make a full length film, because you've got awards out the wazoo.

Eric Blue: Thank you. Yes, unfortunately the big financial crisis of 2003 was right when I was starting to get into my stride, and things got really, really tight, and no one was investing in anything, especially the arts. It was literally a three-year period where you didn't get a nickle off of anybody to do a movie, and unfortunately, I am not independently wealthy. So I couldn't fund it myself, but I also fully believed it was going to happen. Even my wife Karen said: "You have to be patient if it's going to happen. I know you want it to happen today, but it may be tomorrow." And I kept telling myself: "It's gonna happen, it's gonna happen." And sure enough. I believe if you stick with something, and you're passionate about it, it will happen and sure enough it did. I feel like this is going to be the springboard into bigger and more movies for me. [LL: Absolutely.]

Lili's Lair: What was your process in the making of Beacon Point, and how long did it take?

Eric Blue: So, Traci and I wrote the script in four months and that went really, really well, and it was very quick for the writing. She's an industry person with a studio. She reads tons of scripts, and to collaborate with her made things move very quickly. She added a lot of the feel of the voice of Zoe. It was good to work with a woman because she brought a lot of the authenticity of things to the script. So once we had the script written then I needed to really start getting the money, and that's what took the longest. Getting the cash. So we raised our money in four months/five months, so that was extremely quick. I have been working with investors for a long time to try and get them behind one of my projects. This one just really resonated with everyone so well, and people started lining up rather quickly. There's friends and family and people who believe in the project. So once we had the money, we were off to the races in just a few months. I brought Matt Ackerman and Scott Salamon on board. Scott and I do everything together. He is my business partner, my creative partner; and then we brought Matt on, who's a friend of mine. He's also the drummer in my band. So we brought Matt on who's a great producer. He got all the crew together. He got the locations locked down. We got the casting done, and we were off to the races pretty quick. So fast that the first day of shooting I had to pinch myself, because I couldn't believe that we're going to actually roll cameras on this movie. I was like: "Oh my gosh - how did this happen?!" So it was a great surprise to have everything fall into place the way it did. A lot of that was the planning though.

Lili's Lair: I'd be thrilled if I were in your place, as well!

Eric Blue: Trust me: I was thrilled! 

Lili's Lair: I also noticed that on your Kickstarter campaign you had video with lot's of props and FX. Did that take up a lot of time?

Eric Blue: No not a whole lot. The thing you need to remember is a lot of the stuff was happening at the same time we were all working day jobs. You know, we all have families to support. So we were all working day jobs, we were working into the wee hours of the night. I'm lucky I have a a great team that I've been with for a long time. So, I've got my wife who does production design, costumes, makeup, a lot of that very conceptual stuff. Scott and his wife Monica, they helped with all of the conceptual design, prop design. All that stuff. Scott really helped with every aspect of the movie. From the story, to the editing, to the production, to the finishing. So I've got this great team, and it was all in the planning. We were planning very early on. So,when it was go time, and we had the money; it was literally handing the drawings and the conceptuals over to the prop artists, Mark Ross and Toby Sells, who did a lot of work on Vampire Diaries and The Walking Dead, and within a few weeks they pretty much had everything made. So much of it is planning before and getting everything lined up and ready to go. So we didn't have to figure a lot out at the last minute. [LL: I guess that's why they call it pre-production.] It's so important, so important.

Lili's Lair: So, Eric, you have a Kickstarter campaign going on for Beacon Point. What do you have left to do to complete the movie? And when do you think it will be realized?

Eric Blue: Like I say: it takes a lot of work. We are very fortunate. We have a fantastic movie already shot and edited, so we want to get some extra money. We have a major visual effects studio that's been wanting to work with us out of New York, and so we've got these "shadow people" who are in the movie, and we want to take it to the next level. The movie is so amazing, we really, really want to push to the next level with visual effects so the shadow people, and some of the other creepy elements, we think we can enhance by doing the visual effects. So the money is really going to go towards visual effects, towards the sound, and
music, and then marketing towards the end.That's a big part of getting a movie out, is getting it into film festivals and burning DVDs, and all that stuff costs money. So to have a little bit of extra money is going to take us a long way.

Lili's Lair: So you don't have a distributor yet? And that is part of the end process?

Eric Blue: No, but we have a lot of interest though. We have like five or six distribution companies knocking on the door and wanting to see the movie. We're not going to show anything until it's ready, and we really want to put our best foot forward, and we want to show them the movie as it's supposed to be. We don't want to show them the half -finished version, and that's why I wanted to get the extra money. It's to get it totally finished so it will blow everybody away when they see it.

Lili's Lair: So Eric, what would you like to see happening next for you and Blue Lantern Films?

Eric Blue: My goal is to make this my full-time career. That would be my goal. That I can transition from a day job into a full-time writer/director, and I want to do feature films and really support myself doing that and [support] other film makers. That's the other thing I want to do. Atlanta is such a great town, right now it's going gangbusters. I want to set my shop up here. I want to stay in Atlanta, and I want to support other film makers, and help them reach their dreams, and create their movies, and really be not only a writer/director myself, but almost be like an executive producer, [LL: Cool!] and bring their projects to life.

Lili's Lair: That sounds great! Thank you so much for being so generous with your time, Eric!!!

Eric Blue: Absolutely, I'm so honored to talk to you, and the fact you're giving such great support is amazing.

Eric and I went on to chat for a while longer about various film making things, and I have to say: he and his PR woman, Chris, have been so incredible. Just so very down to earth and genuinely sincere and nice.

Between Eric's talent and his brilliant team, who all work together so seamlessly, I am sure Eric will realize his goals in a very short amount of time. With that said, my ghoulish groupies, please make sure to visit all the links to Beacon Point or else "I'll have your guts for garters!"

Their Kickstarter campaign is still on for a little while longer check out the promo here
Follow them on Twitter @BeaconPointFilm


Tuesday, 6 May 2014

Special Feature Movie Promo: Beacon Point

Once in a while minions, a movie comes along that is not like the rest, and you are excited for it's release. Not only is the story creative, but the cast plies their trade well.

Beacon Point is a perfect storm of originality and talent, something that is hard to come by these days. This isn't your typical scary woods story.

The peeps over at Blue Lantern Films have this movie wrapped, but need a little extra kick. In the form of a Kickstarter campaign that is. Beacon Point has to be good if Melissa McBride, who plays Carol on The Walking Dead, is appearing in a special video on their Kickstarter page.

It's important my misguided miscreants that movies like this get made by up-and-coming talent. Like award winning filmmaker and the co-writer, director, and producer of this movie Eric Blue. It's important that we support people like Eric because they are not soul bound to Hollywood's 9 point formula or the bean counters. It is also important because I WANT TO SEE creative, scary, out of the box, new talented creepy goodness.

Don't you? If you do then show Beacon Point by Blue Lantern Films your undying support. If you can, give to their Kickstarter campaign , and definitely make sure to show them your support online by giving their Facebook page a "Like" , visit their site and read all about Beacon Point and watch the trailer for the movie.

One last little piece of business my deviants. I will be interviewing Eric Blue this week and posting it for your diabolical enjoyment next week, so keep your eyes peeled (not literally of course).

Thursday, 1 May 2014

Featured Band with Interview : A Fallen Mind

Bryce Kain, singer/songwriter and founder of A Fallen Mind, knows what he wants and is not afraid to go out and get it. I respect Bryce and his band mates, Jessica, Heather, and guest guitarist Grayson,  for pursuing a career in a "chew you up, spit you out" industry because they're following their dream, doing what makes them happy. We should all be so gutsy and lucky. We should all also have such great taste in music, drawing influences from bands like Type O Negative, Minor Threat, and the Misfits. Bryce and AFM have certainly garnered a spot in my rotten little heart, minions.

It's not just their influences, their cool. horror-themed website, or their fuck you attitudes that speak to my rotten little heart, my little miscreants. It's their music! With driving dance songs like "The Hand That Feeds" (a Nine Inch Nails song, which in my opinion is better than the original), "WTF," "God is an Atheist," or the deep, full-bodied sound of "In Black Flame," you are sure to find a favourite to fit most moods. Personally, I love the album Pain Addiction and find myself listening to it over and over, never tiring of that melodic, resonant sound that's reminiscent of old Type O. Pain Addiction is truly a thing of dark, gothic beauty.

Make sure to give ALL of the links at the end of this post a visit. Especially the one to their trippy website - their are even games on it!!!

Lili's Lair: What were the defining moments, when you decided that this was the kind of music you were going to do?

Bryce, AFM: When I started A Fallen Mind back in 2008, it was a mix of gothic and rock music. The farther I went with AFM, the heavier the sound has gotten. It was like we went from Type O Negative to Slayer. That kind of thing. The new album we're working on now (Oddities and Obscenities) is about as heavy, or heavier, than our second album (The Human Error.)

I got involved in the type of music we're doing now over the years, starting at probably around the age of 15. I was intrigued by this thing called "heavy metal" my friends were talking about and I bought a White Snake album. Mostly cause the cover of the album had a naked chick on it. Sadly, I wasn't really that impressed by the music, but I kept listening to it anyway. Then I met a guy who introduced me to Danzig, The Misfits, Minor Threat, Slayer, Pantera, and so on. I was pretty hooked by what I heard from Danzig and the Misfits and my fandom grew as I got older. Later I was in a goth band in West Virginia and the guys there introduced me to Type O Negative, which blew me away. It was a style I'd never heard of before. And as things went along I also got into White Zombie, then Rob Zombie.

Two albums that stand out the most as for the type of music I wanted to do, and do now, are Danzig's Blackacidevil album and Type O's October Rust. I have mad respect for the work both bands did prior to those albums -- especially John Christ's guitar work -- but when I heard those two albums, that was it.  I knew the definitive direction I wanted to go in.

Lili's Lair: What event led up to you deciding that music was going to be your career?

Bryce, AFM: I have always liked music and playing and being in bands and stuff. At one point, probably when I was 16 or 17, I was trying to put together a band where I was on the drums. This guy came over and jammed with me on his guitar while I was wailing away on the drum set. Problem was, I sucked at drums. He kept cringing and I finally gave up after about an hour's worth of trying to impress him. Soon after he asked if I had ever sung for a band before, which I hadn't, and he invited me to try out for his band as a singer. He had heard me pull off a Pantera scream and sing like Slayer and Metallica so he was interested to see if I could do the same for his band. I tried out, got the spot, and we jammed.

Eventually we got a gig at a local flea market and played a few songs. People weren't that impressed, but we kept going anyway. I mean I was a 16 year old with a band full of 14 and 15 year olds. How good could we be, yeah know? We eventually got to a couple cover songs, which were by the Misfits, and the crowd just went ape shit. I mean it went from people standing around going "ho hum" to "YEAH!!!!!!!" and slamming together in a massive mosh pit. It was insane! And at that moment, as I watched all the fun and the havoc, that is when I knew that I wanted to do this for the rest of my life.

Lili's Lair: Who would you say have been your biggest musical influences?

Bryce, AFM: Musically would be Rob Zombie, Type O, Nine Inch Nails, Danzig, Rammstein, the Misfits, Sam Hain, System of a Down, Metallica, Slayer, Pantera, and bands of that nature. I'm always finding new influences and inspirations.

In life, probably my mom and dad. My parents encouraged me to pursue my passions, and my mom has always been very supportive and practically a saint, but my dad and I had kind of a volatile relationship. Plus I watched him work hard at a job that didn't really seem to give much of a shit about him and he seemed so unhappy. That spurred me to pursue what I wanted to do with a lot of driving force and anger. And I did so relentlessly, promising myself that I would never settle for a life where I was miserable.

Lili's Lair: What is the driving force behind the themes in your songs?

Bryce, AFM: I started out with A Fallen Mind doing spooky, horror related stuff. I was into vampires and lycanthropes and the occult for a long time so that was a lot of what I wrote about. Over the years, though, the stuff I have written about has taken precedent over the style of music. I decided to turn more towards exorcising my inner demons and writing about things that angered, upset, or frustrated me. The Human Error has a lot of "FUCK YOU" in it. Pain Addiction, our first album, is more sexual and dark. The new album is grittier, harder, and darker. So I guess a mix between the first two albums.

Of course we do have our kooky side. Songs like "God is an Atheist" are fun to do. Kind of a Slayer type song with a punk attitude. Also had a lot of fun putting together our heavy metal version of "Wheels on the Bus." And on the next album we have a couple of songs that are funny, like "Tits & Gasoline" and the long titled "Piranhas and Other Poor Choices for Oral Sex." Lots of hard rock and metal mixed with a "We don't give a fuck" attitude.

Lili's Lair: What path do you see your music taking in the next several years?

Bryce, AFM: Honestly, I really don't know. On the business end I know I should have a plan, but really I don't. I just have a lot of drive and a never ending supply of music in my head. I've been writing songs and doing band shit for over 18 years now and there is no stopping any time soon.

We're still an unsigned band, so being on a record label would be nice. Touring would be nice, too. We have fans all over the world who would like to see us play. If we have to continue to remain indie, I'm ok with that, too. More money in my pocket anyway and more creative control over my stuff. So I guess I only see us kicking ass and eating chicken wings. Oh and worshiping Santa Claus. That's important, too.

AFM offers free downloads and streaming on their website, so make sure to check out all these links and give them a "Like" on Facebook.

Band website:


Official Amazon store:



Friday, 28 March 2014

Exclusive Sneak Peek & PR from Blanc-Biehn Productions

Greetings, my creepy creatures. This week's gâteries sucrées is some big news from the busy Biehns of Blanc-Biehn Productions. Before I share that with you, though, I have some info  I managed to exhume on a few other Blanc-Biehn Productions projects.

Let's get started shall we?

Blanc-Biehn Productions have announced the following two films:

Action-thriller "Up and Down," written and directed by Carlo Rizzo.

Action-horror "The Farm," written by Bradley Marcus and Kevin Marcus,
directed by Xavier Gens, and starring Michael Biehn, Michael Eklund and Jennifer Blanc.

In pre-production, they also have two films: 

Horror-thriller "Fetish Factory," pinup vixens vs. zombies in post-apocalyptic Hollywood. (I love the way that rolls off the tongue!), story by Lony Ruhmann, screenplay by Staci Layne Wilson, directed by Stacy Layne Wilson, and starring Brea Grant, Jennifer Blanc, and Tiffany Shepis.

The thriller "Mindless," story by Hallie Jorden, screenplay by Alyssa Lobit, directed by Jason DeVan, and starring Jennifer Blanc, Lorraine Ziff, and J. Michael Trautmann

Post-production finds us in expectancy for not two, not three, but get this my little miscreants, FOUR films!

Personally, I really want to see this one: it's a horror movie called "She Rises"; it's about a director and her lead actor who get a vacation rental whilst filming a movie. Apparently, what begins as a pleasant host ends up becoming a nightmare. The tagline is: "Her fantasy. Your nightmare." Story edited by Larry Wade Carell, story by Lony Ruhmann , story and screenplay by Angus Macfadyen, directed by Larry Wade Carrell, and starring Michael Biehn, Angus Macfadyen, and Jennifer Blanc.

The sci-fi film "The Night Visitors 2: Heather's Story," created by Lony Ruhmann, story by Lony Ruhmann and Jennifer Blanc, screenplay Mark Gantt, Bradley Marcus, and Kevin Marcus, directed by Brianne Davis and starring Caitlin Carmichael, Jennifer Blanc, and Brianne Davis.

The sci-fi/fantasy "Altered Perception," the tagline of which reads "Truth Can Be Prescribed," story by Jennifer Blanc, Jon Huertas, and Travis Romero, screenplay by Travis Romero, directed by Kate Rees Davies, and starring Jon Huertas, Jennifer Blanc, and Nick W. Nicholson.

The thriller "Hidden in the Woods" follows the story of two sisters abused and tormented by their father, a drug dealer. The sisters, tiring of the torment, decide to report him to the police. In turn, the father kills two officers and is placed in jail. This isn't the end, though; when their deranged uncle, a drug kingpin, comes to town looking for his "stuff" hidden in the woods, the sisters' lives go from bad to worse.
Written and original screenplay by Patricio Valladares, original screenplay by Andrea Cavaletto, screenplay by Bradley Marcus and Kevin Marcus, directed by Patricio Valladares, and starring Michael Biehn, William Forsythe, Electra Avellan.

WOW! Even with all of this, the dynamic duo of Blanc-Biehn Productions still managed to find time to visit Germany and make plans for a mash-up of a sci-fi film. Don't believe me? You can read the press release for yourselves:

Blanc-Biehn Productions to Begin Production on New Robot Inspired Film, 'Fembot'
Blanc-Biehn Productions gets green light for new robot inspired film 'Fembot' with Martin Richard Kristek of Care-Energy. It's Michael Biehns' first robot movie since the 'Terminator' and Blancs' first superhuman story since 'Dark Angel' which both had worked on with James Cameron.

Los Angeles, CA (PRWEB) March 25, 2014

Blanc-Biehn Productions will go into production on Fembot, which will see a release date in the fall of 2015. Biehns' first robot movie since the 'Terminator' and Blancs' first superhuman story since 'Dark Angel' which both had worked on with James Cameron. Now the couple will bring a robot film to the fans from the newly successful Blanc-Biehn Productions.

While in Vienna, at the Film Ball the couple met host Martin Richard Kristek, who made a lasting impression on Biehn with his charisma as a European actor and DJ as well as his message and views on the subject of renewable energy. Martin Kristek, owner and CEO of Care-Energy an ESCO, supplies over 380,000 customers in Germany with renewable, sustainable energy. His company’s work creates the greatest possible independence of energy at socially acceptable prices. The social tariff and the run from a social point infrastructure projects in the Philippines and Ghana show the soul of the company. Currently, Martin Kristek is set to internationalize his energy service company.

"I am so excited to work with Martin on this project , I found him to be one of the most interesting, smart, and talented people I have met in a long time" says Biehn.

"We think Kristek will be a wonderful character in this film" added Jennifer Blanc-Biehn.

The film will star Michael Biehn (Terminator, Aliens, The Victim, The Divide) and Jennifer Blanc-Biehn ( Everly, Wrong Cops,The Victim, Dark Angel) and introduces Martin Richard Kristek to Hollywood (in the role of a solar energy provider working with the inventor of the 'Fembot). Kristek will have a supporting role in this film which will begin filming this July in Hollywood. More cast announced as of April 2014.

'Fembot' will be directed by editor Vance Crofoot and written by Staci Layne Wilson.

Imagine a world in the not-too-distant future in which your every whim and desire can be fulfilled by a beautiful, charming, and sexually adventurous female robot. Thanks to ingenious scientific advances, and potency provided by benevolent green energy eco-power plants, these “Fembots” are a dream come true. She’s lifelike, responsive, warm, and soft to the touch -- she even smells like cotton candy. What man wouldn’t want one?

Wealthy entrepreneur Zayden Beckett (Michael Biehn) can’t wait to invest… both professionally, and personally. Beckett test-drives a few Fembot models before he settles on Arla, the most intelligent of the lot, specially programmed just for him. Unfortunately, the devious inventor of the Fembot has cut corners with Arla, using a different, inferior energy source. She develops a mind of her own, and a thought-process which allows for jealousy. When Beckett begins to fall in love with a real woman, Arla goes on the attack.

The 'Fembot' plot revolves around a man seeking perfection who's pretty sure to have finally found what he’s been looking for in the shape of a Fembot – a female robot. A standard Hollywood fairy tale? Maybe at first glance – but if you look closer the plot holds more than meets the eye. It works on many levels, has a profound meaning, alludes ironically and entertaining to the absurdities of this artificial world around us a world we created in the last decade. A world filled with make-believe friendships, made up relationships, and wannabe-realities only ringing true in a pixelated universe. So' Fembot' actually serves as a warning, a wake-up call for the viewer: Beware of the temptations of the virtual reality because in the end you might find yourself in a real world that’s more fiction than fact, where nothing is real anymore. In the truest sense of the word. And who’s gonna want that to happen? Nobody – that’s who!

Fembot is a thrilling and erotic, energy conscious, sci-fi suspense film. Production begins in July 2014 with plans to premiere in February 2015.

Learn more at:
@blancbiehnfilms- twitter -Facebook

Thursday, 20 March 2014

Throw Back Thursday Part One and Two "Twisted Tales: Hansel and Gretel, the True Story"

Here for the first time is the truth about Hansel and Gretel, and the first of many twisted tales I have collected over many years and from many places.
One night a very, very, very long time ago I happened upon a small village near Hanau, Germany. This was during one of my jaunts around Europe to see what kind of chaos I could cause. I entered a small dark inn located near the outskirts of the village. I took my rest in a far corner of the room, my back to the wall to "assess" the surroundings. They were very typical for the time, plain basic wood tables with benches, a few smaller tables with roughly hewn chairs, central fire for warmth, and a basic bar with stools near the front of the inn. There were stairs as well that led up to quarters for travelers. Very few candles, which is fine by me as I prefer the dark. The inn floor was strewn with hay and sweet almond to lessen the stench of unbathed men and beasts.

As I was making these observations a serving wench made her way to my small table to bid me what it was I wanted. I proceeded to order a plate of cheese, bread, and jug of wine, as I had already had my fill of meat the night before in a different village.

As the evening progressed the tiny inn became populous with locals. I began to become irritated by the noise and was about to leave (having come to the decision that there was no havoc to be had) when a comely young man came over to sit with me.

Usually I do not "mess about" with the locals on a cordial level, however seeing as how I was bored, I thought to myself, "Oh, he would make some fun sport would he not?"

So, I let him sit down and even offered him some of my wine, as well as the bread and cheese. After a short time had passed with conversation on the local weather and politics, including a few inappropriate suggestions thrown in, as well as quite a few goblets of wine, the topic turned to local folk lore.

He asked me if I had ever read any of the stories by two nearby writers named the Grimm Brothers. I said I had. He then asked me if I knew that the stories were true, but altered by the Grimm Brothers. I told him I had not known that. He continued on with his pointed questioning by asking me if I had read the story of Hansel and Gretel.

By this time I was getting sorely irritated and snapped, "Yes, yes for fuck's sake! Get on with it or let me be!"

After a short apology he moved quite close and in a slight whisper said: " The real Hansel and Gretel were from this village. My grandfather was the huntsman who rescued Gretel."

"Just a moment, you said 'rescued Gretel'. What about Hansel?" I quipped, intrigued by this turn of events.

"Oh, there-in lies the true story of Hansel and Gretel. Would you like to hear it?" He asked in a voice that belayed not only fear, but also a subtle dark arousal of the telling of the tale as he continued.

[Continued from Part I]

"The Truth of Hansel and Gretel is this," the young man continued, "Hansel did not escape the evil witch's hunger. In fact, the evil witch told Gretel that if she helped to dismember and stew up her brother she would be left alone to live as a servant to the witch. Hansel loved his sister so and he bade her to do as the witch commanded so that at least one of them would survive.

"Alas, poor Gretel could not go through with it. So Hansel took the knife from Gretel's hand and slit his own throat. As the evil witch cackled at the sight, something went 'snap' inside of Gretel's mind.

"Each time the evil witch would lure a child into her gingerbread house (which was a magical illusion, by the way) she would say to Gretel, 'Remembering your brother, are you? Well, do not trouble yourself with such thoughts, for you are like me now, and nothing and no one can save your immortal soul. You are tainted, tainted to the core.'

"This statement was always followed by the evil witch's hideous cackle, and every time Gretel heard it, she slipped farther and farther away behind empty eyes.

"Days turned into months, months into years, with the same heinous crimes being committed by the witch and poor mad Gretel.

"Then, one day, a woodsman happened upon the cottage. For one brief moment, clarity came upon Gretel and she screamed and screamed for help, running towards the door. But, it was already too late, for the evil witch had cast her dastardly spell and dispatched the woodsman forthwith. With the woodsman gone, the witch set upon Gretel to punish her for her treachery. Gretel was bound to a chair, her mouth pried open, her tongue ripped out, and her lips cut off with a dull knife, so she could never scream again. Then the maniacal witch smashed and hobbled Gretel's feet so that Gretel could never try to run again.

"Several more years passed as Gretel slipped further and further into madness.

"Now, it came to be that the evil witch, whose eyesight was failing, had no choice but to let Gretel chop the vegetables and flesh that went into her human stews, and for some time Gretel did as she was told.

"However, one day things changed. The witch had brought home two small children around the same age and with an appearance very akin to Hansel and Gretel when they first stumbled upon the evil witch's lair.

"Once again something, 'snapped' in Gretel's brain as she began to chop vegetables for this unholy stew.

"As the witch's back was turned to wash her next human victims, Gretel quietly dragged herself around the table directly behind the witch. The maniacal witch being so preoccupied with her catch did not take notice of Gretel's whereabouts. Gretel quickly took the clever in her hand, and with all the strength she could summon hacked into the witches skull.

"Gretel then stumbled backwards as the evil witch grasping her head fell back upon Gretel, her life's blood leaving her in torrents.

"The children ran screaming out the door. Gretel hunched over the body and began to dissect it, piece by horrible piece, with a butcher's precision.

"Two days later, a huntsmen (my grandfather) came from the village in response to the childrens' tale. There he found Gretel huddled in a corner near the blood and gore of the rotting, evil witch's hacked up remains.

"Gretel stared off emptily into the distance, her knees drawn up under her chin as she rocked herself back and forth, back and forth.

"In her state of madness, she had clawed at her flesh and torn out clumps of hair.

"The huntsman brought her to this village, where her wounds were tended. Gretel emerged from her catatonic state only long enough to scribble out what had happened to her. After that, she once again retreated back into herself.

"My grandfather had no choice. He was forced to take her to the city, where she remains to this day - locked behind asylum doors. It is rumoured that she never makes a sound; she just sits there, rocking herself in a padded cell behind empty eyes.

"This is the story my grandfather told me," he said.

After a few more inappropriate suggestions, I smacked him across the face, causing his mouth to bleed. As I leaned over him licking the blood from his lips, I whispered: "Remember not this evening."

I left him there alone and bewildered.

Hmm, I wonder where this asylum is? as I wandered off toward my next adventure.

The Masque Of The Red Death by Edgar Allan Poe

The "Red Death" had long devastated the country.  No pestilence had ever been so fatal, or so hideous.  Blood was its Avatar and its seal--the redness and the horror of blood.  There were sharp pains, and
sudden dizziness, and then profuse bleeding at the pores, with dissolution.  The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.

But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half zepopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys.  This was an extensive and magnificent structure, the creation of the prince's own eccentric yet august taste.  A strong and lofty wall girdled it in. This wall had gates of iron.  The courtiers, having entered, brought furnaces and massy hammers and welded the bolts.  They resolved to leave means neither of ingress nor egress to the sudden impulses of despair or of frenzy from within.  The abbey was amply provisioned.  With such precautions the courtiers might bid defiance to contagion.  The external world could take care of itself.  In the meantime it was folly to grieve, or to think.  The prince had provided all the appliances of pleasure.  There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine.  All these and security were within.  Without was the "Red Death".

It was towards the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most
unusual magnificence.

It was a voluptuous scene, that masquerade.  But first let me tell of the rooms in which it was held.  These were seven--an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded.  Here the case was very different, as might have been expected from the duke's love of the bizarre.  The apartments were so irregularly disposed that the vision embraced but little more than one at a time.  There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect.  To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the winding's of the suite.  These windows were of stained glass whose colour varied in accordance with the prevailing hue of the decorations of the chamber into which it opened.  That at the eastern extremity was hung, for example in blue--and vividly blue were its windows.  The second chamber was purple in its ornaments and tapestries, and here the panes were purple.  The third was green throughout, and so were the
casements.  The fourth was furnished and lighted with orange--the fifth with white--the sixth with violet.  The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue.  But in this chamber only, the colour of the windows failed to correspond with the decorations.  The panes here were scarlet--a deep blood colour.  Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers.  But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire, that projected its rays through the tinted glass and so glaringly illumined the room.  And thus were produced a multitude of gaudy and fantastic appearances.  But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a
look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.

It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony.  Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the
circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that,
at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to harken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused revery or meditation.  But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and
then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.

But, in spite of these things, it was a gay and magnificent revel.  The tastes of the duke were peculiar.  He had a fine eye for colours and effects.  He disregarded the _decora_ of mere fashion.  His plans were
bold and fiery, and his conceptions glowed with barbaric lustre.  There are some who would have thought him mad.  His followers felt that he was not.  It was necessary to hear and see and touch him to be sure
that he was not.

He had directed, in great part, the movable embellishments of the seven chambers, upon occasion of this great fête; and it was his own guiding taste which had given character to the masqueraders.  Be sure they were grotesque.
There were much glare and glitter and piquancy and phantasm--much of what has been since seen in "Hernani".  There were arabesque figures with unsuited limbs and appointments.  There were
delirious fancies such as the madman fashions.  There were much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams.  And these--the dreams--writhed in and about taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps.  And, anon, there strikes the ebony clock which stands in the hall of the velvet.  And then, for a moment, all is still, and all is silent save the voice of the clock.  The dreams are stiff-frozen as they stand.  But the echoes of the chime die away--they have endured but an instant--and a light, half-subdued laughter floats
after them as they depart.  And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many tinted windows through which stream the rays from the
tripods.  But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-coloured panes;
and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches _their_ ears who indulged in the more remote gaieties of the other apartments.  But these other apartments were densely crowded, and in them beat feverishly the heart of life.  And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock.  And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things
as before.  But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among
those who revelled. And thus too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of
the presence of a masked figure which had arrested the attention of no single individual before.  And the rumour of this new presence having spread itself whisperingly around, there arose at length from the whole
company a buzz, or murmur, expressive of disapprobation and surprise--then, finally, of terror, of horror, and of disgust.

In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade licence of the night was nearly unlimited; but
the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion.
Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made.  The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed.  The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave.  The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat.  And yet all this might have been endured, if not approved, by the mad revellers around.  But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood--and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.

When the eyes of the Prince Prospero fell upon this spectral image (which, with a slow and solemn movement, as if more fully to sustain its  role, stalked to and fro among the waltzers) he was seen to be
convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.

"Who dares,"--he demanded hoarsely of the courtiers who stood near him--"who dares insult us with this blasphemous mockery? Seize him and unmask him--that we may know whom we have to hang, at sunrise, from the battlements!"

It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words.  They rang throughout the seven rooms loudly and clearly, for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.

It was in the blue room where stood the prince, with a group of  pale courtiers by his side.  At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker.  But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince's person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple--through the purple to the green--through the green to the orange--through this again to the white--and even thence to the violet, ere a decided movement had been made to arrest him.  It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all.  He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer.  There was a sharp cry--and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the Prince Prospero.  Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave cerements and corpse-like mask, which they handled with so violent a rudeness, untenanted by any tangible form.

And now was acknowledged the presence of the Red Death.  He had come like a thief in the night.  And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing
posture of his fall.  And the life of the ebony clock went out with that of the last of the gay.  And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.
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