mercredi 29 avril 2009


Charlton Heston plays the government researcher behind the ultimate biological weapon, a deadly plague that has ravaged humanity. There are two groups of survivors: a dwindling band of immune humans and an infected, psychopathic mob of light-hating quasi-vampires. The infected are led by Mathias, a clever, charismatic man set on destroying the last remnants of the civilization that produced the plague. Heston has a vaccine--but he and the few remaining normals are outnumbered and outgunned. By day, he builds a makeshift version of the nuclear family (with Rosalind Cash as his afro-wearing, gun-toting little lady). They plan for the future while roaming freely through an empty urban landscape, taking what few pleasures life has left. By night, they defend themselves against the growing horde of plague victims.


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The Great Race … waxed well-nigh omniscient, and turned to the task of setting up exchanges with the minds of other planets, and of exploring their pasts and futures. It sought likewise to fathom the past years and origin of that black, aeon-dead orb in far space whence its own mental heritage had come – for the mind of the Great Race was older than its bodily form. . . The beings of a dying elder world, wise with the ultimate secrets, had looked ahead for a new world and species wherein they might have long life; and had sent their minds en masse into that future race best adapted to house them – the cone-shaped beings that peopled our earth a billion years ago.
—H. P. Lovecraft, The Shadow Out of Time

The First Martian on Earth, 67 x 94 cm, Acrylic on paper

mardi 28 avril 2009


Pittsburgh born actor/SFX wizard/stuntman/director who did a tour of duty as a combat cameraman in Vietnam, and who has since acquired a remarkable cult following amongst film fans, primarily due to his ground breaking SFX in the "splatter movie" explosion of the early 1980s. Along with fellow special make-up legends Dick Smith and Rob Bottin, Savini was one of the key SFX people behind the startling make-up & EFX seen in the fantasy / horror genre films of the 1980/90s. Savini was heavily influenced by the remarkable silent era actor Lon Chaney, and he sought to emulate the amazing theatrical make-up effects that were a hall mark of Chaney's career. In Savini's insightful book "Grande Illusions", he speaks of his early first attempts at applying prosthetics to his face using "spearmint gum", having misinterpreted that he was meant to actually use 'spirit gum'!

His first work was in low budget fare providing SFX & make up for independently made horror films such as Deranged (1974) and Martin (1977). However, he really caught the attention of horror buffs with his grisly effects in the cult George A. Romero directed zombie film Dawn of the Dead (1978), and then in the controversial slasher film Friday the 13th (1980), the movie generally identified as the kick start for the aforementioned "splatter movie" genre. Savini also contributed the incredible EFX & make-up to other splatter thrillers such as Maniac (1980), The Burning (1981), Creepshow (1982) and Romero's third 'Dead' film, Day of the Dead (1985) (for which he won a Saturn Award).

In 1990, Savini directed his feature film debut Night of the Living Dead (1990), the remake of the original zombie-classic.

Not content with just being behind the lens, Savini has appeared in dozens of films, and can be seen demonstrating his capable acting skills as 'Morgan, the Black Knight' in Knightriders (1981), as 'Blades', one of the biker gang members in Dawn of the Dead (1978), and as 'Sex Machine', another leather clad biker, but this time with a groin mounted gun in the wild vampire film From Dusk Till Dawn (1996).

lundi 27 avril 2009


David Cronenberg's Scanners

samedi 18 avril 2009


The word Krampus originates from the Old High German word for claw (Krampen). In the Alpine regions the Krampus is represented by an incubus demon in company of Saint Nicholas. Krampus acts as an anti-Saint Nicholas where instead of giving gifts to good children, he gives warnings and punishments to the bad children. Traditionally, young men dress up as the Krampus in the first two weeks of December, particularly in the evening of December 5, and roam the streets frightening children and women with rusty chains and bells. In some rural areas the tradition also includes birching by the Krampus, especially of young females.
The present day Krampus costume consists of wooden masks or Larve, sheep's skin and horns. Considerable effort goes into the manufacture of the hand-crafted masks, as many younger adults in rural communities engage competitively in the Krampus events.
In Oberstdorf, in the southwestern alpine part of Bavaria, the tradition of der Wilde Mann ("the wild man") is kept alive. He is described exactly like Krampus (except the horns), dressed in fur and frightening children (and adults) with rusty chains and bells. Der Wilde Mann however, is not an assistant of Saint Nicholas.
Source: Wikipedia

jeudi 16 avril 2009


L'Administration ignorait tout, et ses chefs ignoraient le reste.
En un mot, tout allait très bien jusqu'en septembre 2004, où des sources policières révélèrent l'existence d'une salle de cinéma clandestine sous le Palais de Chaillot :
« Équipé notamment d'un bar et d'un dispositif anti-intrusion sophistiqué, l'étrange repère serait celui d'un groupe jusque-là inconnu du public comme des autorités : La Mexicaine De Perforation. »

Trois ans plus tard, un article du journal Le Monde annonçait que le Centre des Monuments Nationaux portait plainte contre un groupe surnommé les Untergunther... pour « la restauration clandestine de l'horloge monumentale du Panthéon ».

Ces groupes, bien que clandestins, ont un principe extrêmement simple : lorsque l'affaire est connue par d'autres sources que la leur, il devient parfaitement inutile de s'en cacher. Voici donc le récit de leurs expériences, souterraines ou non, qui ont conduit à une pratique culturelle pas toujours agréable aux autorités.
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More info at Urban Resources

mercredi 15 avril 2009


Here is some provocative video of a mysterious creature encountered by Japanese fishermen on a rocky seashore.
The excitement begins when the three men notice a group of strange animals on the side of a nearby cliff. Curious, they approach for a closer look and eventually manage to corner one. (The close encounter begins at 1:45 into the video.)
The slimy, pulsating beast — like something out of a Cronenberg film — appears to be some sort of amphibious sea animal that ventured ashore. After poking and prodding the creature with a stick and flipping it over to reveal an undulating, sphincter-like orifice, one of the men rashly — and unwisely — decides to give it a swig of his carbonated beverage. You don’t want to miss the explosive conclusion.
Is this a bizarre new species? Alien creature? Spectacular hoax? You be the judge.
Watch the film here

mardi 7 avril 2009


Atmospheric music based on the letters sent by Jack The Ripper to the police. Great soundtrack for the yet to be made ultimate movie about the Whitechapel serial killer.

1888, Londres, Whitechapel, un homme tue des prostituées. Jamais il ne sera arrêté, jamais il ne sera confondu. Le mystère plane encore, et Les Sentiers Conflictuels, épaulés par Andrew King, nous livre un album d’ambiance fin de siècle, et nous conte l’histoire de ce tueur mythique, Jack l’Eventreur.
Tout est fait pour nous plonger dans la capitale de l’Empire Britannique de la fin du XIXème siècle. le disque s’articule d’une part autour des lettres que le tueur en série a envoyé à Scotland Yard, dites par Andrew King, sa voix étant modifié pour paraître encore plus étrange, diabolique, effrayante, et d’autre part une ambiance sonore riche et grouillante qui nous propulse dans le labyrinthe des rues où les meurtres ont eu lieu. Bruit de machine, de sabot de chevaux sur les pavés, musique de baraquements de fête foraine, tantôt triste, tantôt terrifiante mélodie lancinante du cauchemar à venir, tout est fait pour nous plonger et dans l’époque et dans la tête de tueur, deux ambiances qui finissent par ne faire plus qu’une à mesure que la musique emplie notre esprit. Car Jack l’Eventreur et le Londres de 1888 sont intimement liés, psychogéographie d’un carnage urbain, paradigme de la violence à venir, aveugle, chirurgicale et brutale. Jack l’Eventreur, monstre contemporain, a ouvert la voie à un siècle de crime et de boucherie, le XXème siècle.

dimanche 5 avril 2009


One of the most enigmatic, eclectic and cosmopolitan bands of the Italian electronic scene returns with a singular sonorization - originally commissioned by the sci-fi festival Invasioni and performed live in Cosenza in Summer 2001 - paying a tribute to the cult movie Terrore nello spazio (1965, a.k.a. Planet of the Vampires and The Demon Planet) by Mario Bava (1914-1980), the undisputed and unforgotten Maestro of Italian gothic and macabre cinema (with films like Black Sunday, Black Sabbath, Blood and Black Lace, etc.), an ingenious and ironic innovator of the low budget productions that was appreciated and revalued in France, UK and USA much earlier than in his native country. Based freely on the story (later plagiarized by Ridley Scott’s Alien) of the spaceships Argot and Galliot, attracted to land on a dying planet by ectoplasmic alien-vampires that in order to escape to other worlds need to take possession of the body of astronauts turning them into living zombies, Le Forbici di Manitù have created a sharp-witted hybrid of B-movies retro-fascinations and stylized genre contaminations, by mixing samplers and analogic electronics with an instrumentation hinting at jazz (flute, clarinet, congas, vibraphone) and disseminating the score with surreal cut-ups of dialogues from vintage films (where horror queen Barbara Steele can be heard in conversation with the high-brow characters played by Monica Vitti or with the silly comedians Franco and Ciccio), to permeate it with a mid-Sixties mood.

vendredi 3 avril 2009