I could not have asked for a better review of THE FLY book from FrightFest Gore in the Store. I don’t know the reviewer, John Upton, personally or professionally – but I need to buy him a drink one day.
It was International Women’s Day on 8th March 2019.
Programming and Content Manager at Triple R, Bec Hornsby, asked Cerise Howard and I from Plato’s Cave, and Megan McKeough from Zero-G, to talk about anything we wanted to talk about. So we chatted about women in film and we introduced our hour-long broadcast with the Duran Duran song, ‘Girls on Film’ (my personal highlight of the show).
One of the things we discussed was early women filmmakers, which meant the subject of Alice Guy-Blaché came up – one of (if not) the most criminally forgotten people in cinema. In talking about Alice, we were able to determine that cinema is not an industry that is new to female practitioners; it is one that was built by female practitioners. Somewhere along the way, the money men pushed the women out.
We owe a lot to Alice Guy-Blaché. Worship her.
The brainchild of editor/writer/legend Michael Helms, Fatal Visions is largely unknown by cineastes outside Australia but, I would say, is definitely something that should be sought out by anyone who loves films of a less-than-commercial nature from a bygone era.
The individual editions themselves are as rare as hen’s teeth. BUT, in his infinite wisdom, Michael has released two volumes as a ‘best of’ Fatal Visions – Fatal Visions: The Wonder Years (1988-1989) and Fatal Visions: The Golden Age (1990-1998). I appear in the latter book, of which you can see the back cover and a couple of insider pages below.
The feature image for this blog post is the cover of The Golden Age – Michael Helms sporting a bullet to the head (fine title for a film).
In an epic six-hour stretch (without a break) – from 8pm to 2am Melbourne Eastern Standard Time – I spoke with Bill Ackerman from Supporting Characters about… me.
Yes, somehow, Bill managed to take what I’ve felt was a fairly ordinary existence and dug out some extraordinary things. I hardly recognise the person in this podcast.
If you feel so inclined, you may like to have a listen to it. But I won’t be upset if you just skip ahead to get the highlights.
I would like to thank Bill for an experience I’m unlikely to repeat, as well as for his patience, kindness and time in bringing this podcast together.
Every episode is a massive effort for Bill, and I really recommend you check out some of the other episodes too. You’re likely to find some gems among the 51 episodes so far.
I’m pleased to be working with my partner-in-film, Lee Gambin, once again on a new blu-ray audio commentary for Kino Lorber – Francis Simon’s THE CHICKEN CHRONICLES from 1977, starring Steve Guttenberg in his debut role.
THE CHICKEN CHRONICLES joins a growing list of DVD audio commentaries that I’ve completed in recent years. So I decided it was worth dedicating a page on my website to these commentaries to give them the love they deserve. Take a look here…
As part of the Melbourne Women in Film Festival (MWFF) – in which I spoke on the Delightfully Dark panel – I was interviewed by Critics Lab participant Kate MacDonald about the relationship between women and horror.
My argument is that woman ARE horror, and I think I make a pretty good case of it, as proven by the featured image of myself accompanying this blog post.
A monthly podcast since 2010, Hi4H is momentarily hanging up the hyphenates. How long they’ll be on hiatus, we don’t know – or even if they’ll return – but Lee and Rochelle have signed off with a humdinger of a finale, the career of Martin Scorsese.
Past guests and hosts (including my current Plato’s Cave co-host, Paul Anthony Nelson), have gathered together to contribute their various thoughts on Scorsese and his voluminous oeuvre. I make an appearance (having previous tackled Roman Polanski on Hell is for Hyphenates) where I talk about experiencing Goodfellas andCape Fear for the first time as an impressionable, young lass.
Congratulations to Rochelle and Lee for not just surviving but excelling at their commitment to fully survey cinematic auteurs as chosen by their special guests each month. I, for one, have loved being on the show.
It was sad to hear Larry Cohen had died on 23rd March 2019. Thank you to Diabolique for allowing me to honour him.