Christopher Lee –

Christopher Lee just before his death in Star Wars Episode III: Revenge of the Sith

Christopher Lee(1922 – 2015)

Lee is another serious contender for the greatest amount of recordedscreen deaths, and with a career spanning seven decades which ended at his final work. A hard working actor that has enjoyed playing villains has he finds playing villains are more satisfying roles to play. A marvelous singer and a wonderful operatic dark voice of bass baritone.

Christopher Lee’s headless body (lying) in Star Wars: Episode III: Revenge of the Sith

Christopher Lee in The Man with the Golden Gun

Sir Christopher Lee My Private Collection

Christopher Lee’s death in the extended edition of The Lord of the Rings: The Return of the King

Christopher Lee in Gremlins 2

Christopher Lee in The Whip and the Body

The Jabberwocky’s death in Alice in Wonderland

Christopher Lee’s animated death in The Last Unicorn

Christopher Lee in Horror of Dracula

Christopher Lee in The Four Musketeers

Christopher Lee’s death in The Curse of Frankenstein

Christopher Lee in Dracula: Prince of Darkness

Christopher Lee in Dracula Has Risen from the Grave.

Christopher Lee in Hercules in the Haunted World

Christopher lee as the Frankenstein creature

Devil ship pirates Christopher lee as captain Robeles

Christopher Lee in I, Monster

Christopher lee

Christopher lee

Christopher lee with wife Gitte

Christopher lee

Christopher lee

Christopher lee

Christopher lee

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Christopher Lee | Hammer House Of Horror Wiki | FANDOM …

Date of Birth

May 27, 1922


Belgravia, London, England

Sir Christopher Frank Carandini Lee, (born: 27 May 1922, London [1 ] – died: June 7 2015, London) was an English actor. He initially portrayed villains and became famous for his role as Count Dracula in a string of Hammer Horror films. Other notable roles include Lord Summerisle in The Wicker Man (1973), Francisco Scaramanga in The Man with the Golden Gun (1974), Count Dooku in the Star Wars series, as well as Saruman in The Lord of the Rings film trilogy. Lee considers his most important role to have been his portrayal of Pakistan’s founder Muhammad Ali Jinnah in the biopic Jinnah (1998).[2] Lee has performed roles in 266 films since 1948.

Christopher Lee was knighted in the Queen’s Birthday Honours in 2009.

He past away on June 7 2015 at Chelsea and Westminster Hospital at the age of 93 due to heart falliure and respiratory problems. His wife Brigit made the news public on June 11 2015.

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Also Known As

Notable features

Extendable fangs Pale skin



Vampires are a supernatural species of sentient reanimated corpses that drink blood to survive and maintain their powers. They were originally humans or other living beings converted into a vampire by a “maker.” Being technically deceased, their primary characteristics include a lack of a heartbeat, body heat, brainwaves, electrical impulses, need to breathe, and other bodily functions. They are often referred to as “immortal,” but it is frequently pointed out that all vampires meet the true death eventually, through one means or another.

On the HBO original series True Blood, due to the creation of synthetic blood (Tru Blood), vampires have revealed themselves to the global population. As vampires are able to sustain themselves on synthetic blood instead of human blood, vampire representatives have assured the human population that vampires are no longer a threat to humanity. Vampires interact peacefully with humans and have largely succeeded in integrating themselves into human society. They retain their own laws and traditions, although the two communities come closer and closer together as the series progresses.

Reactions to vampires vary greatly. In parts of the world like Latin America and Iran, they are hunted and persecuted relentlessly. This caused many of them to flee for their safety to more tolerant countries, such as the United States. They are considered legal citizens within the United States, albeit with limited rights and tolerance. The vampire community, along with their sympathizers, continues to fight for equal vampire rights. On the other hand, many anti-vampire groups fight to deny them their rights or even advocate their extermination.

Lilith, the first vampire ever

It is unknown exactly when vampires were created. According to the Vampire Bible, God created the first vampire, Lilith, followed by the creation of the first humans, Adam and Eve. They were said to have been created as sustenance for Lilith, but the truth of this statement is unknown. Members of human religious groups, such as the Fellowship of the Sun, have their own theories of the first vampire, including Jesus (who rose from the dead), Lazarus (who also rose from the dead), and Cain (the son of Adam and Eve, who committed the first murder).However, most humans from among the right-wing Christians believe that vampires were created by the Devil and that they have no souls. A common theory among vampires is that they “evolved” from humans.

Bill Compton has stated that, many centuries ago, vampires created many of the vampire myths themselves in order to protect themselves. For instance, since it was believed that vampires could not be seen in the mirror, a vampire could prove that they weren’t a vampire by appearing in a mirror. Other myths include holy water, holy grounds (i.e. religious buildings and establishments), crucifixes, and photography (i.e. it is possible to take a photograph of a vampire), which have no actual effect on vampires. Vampires have fed off of other sentient beings (mainly humans), since their creation, but managed to cloak their existence, most likely through glamouring, and their secretive society.

In 1610, a powerful witch named Antonia Gaviln de Logroo cast a spell that summoned all vampires within a 20 mile radius to expose themselves to sunlight. This caused a number of vampires to die and caused vampires to be very fearful of necromancy.

In 2006, vampires revealed their existence to humans in an event referred to as “the Great Revelation”, “coming out of the coffin” and “mainstreaming”. During the revelation, vampires began claiming that vampirism did not indicate rising from the dead, but that it was a disease which makes vampires allergic to sunlight and alters their dietary needs.

By this time the vampire population is in the millions and still rising.

In 2008, vampire Stan Baker, along with other vampires under his command, orchestrated the murder of Reverend Theodore Newlin, his wife, and his daughter. Newlin was the head of The Fellowship of the Sun, a political anti-vampire church. He was succeeded by his son, Steve Newlin, who continued his father’s work.

In 2010, vampireRussell Edgington ripped out the spine of TBBN newscaster Jerry McCafferty on live television, which increased prejudice and hate crimes towards vampires. In addition, Russell became the poster boy of the Sanguinista movement, sparking more conflict between humans and vampires.

In 2011, 400 years after the death of Antonia Gaviln de Logroo, a witch named Marnie Stonebrook summoned her spirit. Antonia used Marnie as a host to control her, and cast the same spell she cast in 1610. However, as the vampires had been warned of her intentions, only one vampire perished. Marnie mentions vampires being politically powerful throughout the centuries, writing propaganda on witches and exaggerating many of their myths.

Willa Burrell being made vampire by Eric.

In order to create a vampire, a human must be drained of their blood by a vampire and the blood lost needs to be replaced by some of the vampire’s blood. The vampire and human must then sleep in the ground (this is presumably the point where they technically die) until the newborn rises as a vampire the following night. The newborn and the maker will subsequently have a maker-progeny bond, unless the maker deserts or releases their progeny.

Newborn vampires will be thirsty and will need to feed to survive. Although newborns have some control of their abilities, they are mostly controlled by their impulses and can cause serious harm and accidental deaths to humans around them. In addition, newborns cannot resist blood at all, as resistance develops with age.

A newborn’s existence depends upon their abilities, which are taught to them by their maker. These abilities take time to learn and develop. As vampires age, they become more adept at controlling their abilities. According to Bill Compton, two-thirds of newborns die during their first year without the guidance of their makers.

Godric about to become the maker of Eric

A maker has a deep connection with his or her progeny, something that humans cannot fully understand or experience. During the transformation from human to vampire, the maker and soon-to-be progeny “share their essence” whilst buried in the ground, a supernatural process that not even vampires understand.

Maker-progeny relationships vary between individuals. Vampires Rosalyn Harris and Bill Compton treat their progeny like humans treat children, and have an exclusively parental relationship. On the other hand, vampires Lorena Krasiki and Russell Edgington create progeny to prolong romantic and sexual relationships, and have spousal relationships with their progeny.

Bill teach his progeny Jessica how to live the Tru Blood.

Most vampires do not take becoming a maker lightly, as evidenced by Eric Northman, who has only produced two progeny in a millennia, and Bill Compton, who has produced one in 175 years. However, Pamela Swynford de Beaufort has admitted to creating a progeny out of curiosity, and Rosalyn Harris has created 204 progeny in 211 years. Eddie’s maker turned him for the asking, though he did not take his responsibilities as a maker seriously and left Eddie to fend for himself.

A progeny may turn a vampire and become a maker themselves while still under the influence of their own maker. The grandparent/grandmaker has no control over the grandchild/grandprogeny.

A maker has a certain amount of control over their progeny due to the maker-progeny bond.

Bill calling his Progeny, Jessica (click for animation)

Vampires preparing to feed on a human

Vampires are indistinguishable from humans, and appear as they did when they were turned, albeit with a paler complexion due to lack of blood flow. Also, they have fangs that usually extend and retract willingly, though they can be stimulated to unwillingly extend. Some other vampires’ eyes also turn red, such as Liam McKnight, as he demonstrated that he can change his eye color into blood-red.

Vampires remain identical forever after they are turned. Due to this, vampires cannot lose or gain weight (as explained by Eddie Gauthier, who said that, due to lack of exercise and a bad diet as a human, he remained overweight as a vampire) (“I Don’t Wanna Know”), or change their body in any way (for instance, Jessica Hamby was a virgin when she was turned, and, after having sex, her hymen grew back). They are supposed to “sleep” during the day, which means that they will be essentially dead until they are active again. Eric says “We’re supposed to be dead during the day,” and the sign on the door of Fantasia during daylight hours humorously reads “Sorry, we’re dead.”

Vampires can presumably grow hair, as Eric Northman cuts his hair, Lorena Krasiki’s hair is shown to vary in length, and Franklin Mott states that he shaves.

Vampires are recognizable from their fangs, which are located behind the maxillary lateral incisors (as opposed to the canines, as per vampire mythology). Fangs can be extended and retracted by choice, and are controlled by the movements of certain facial muscles. However, fangs protrude automatically when vampires are feeding, angry, excited, sexually aroused (colloquially referred to as a “fang boner”), need to fight, or see blood. Fangs can also be removed, but grow back after three months. Without fangs, vampires cannot feed on live victims unless the victim is already wounded.

Due to the lack of blood flow, vampires do not have any bodily functions. Because of this, vampires do not produce waste, and are unable to become pregnant, impregnate female humans or supernatural creatures, and have lower body temperatures than humans.

Vampires have anatomically different tear ducts from humans, as they expel blood, not tears (blood is the only fluid that their bodies can produce.)

Although vampires do not need to breathe, most still do out of habit, to aid in speaking, and for a sense of smell.

Pam teaches Tara how to feed without killing

Vampires are reliant on human blood or synthetic blood, as they cannot ingest normal food or drinks, nor supernatural blood (with the exception of faeries). The blood of near-human creatures like werewolves or shifters can also sustain them.

Synthetic blood is comprised of a varied cellular content, and comes in flavors (blood types) such as O, A, B and AB, in both positive and negative varieties. Although Tru Blood can sustain a vampire nutritionally, it does not satisfy the vampire’s cravings. Because of this, many vampires opt to drink human blood. Allegedly, virgin and baby blood taste the best, and faerie blood is expressly sought out by vampires, being referred to as “catnip for vampires”.

Most vampires prefer certain blood types (e.g. AB positive, B negative, etc.) but any blood type can sustain them.

If a vampire abstains from drinking blood, they will experience the “bleeds”, during which the vampire will begin to bleed from their ears and nose. Lack of feeding also severely weakens them. In addition, vampires experience the bleeds if they do not sleep during the day. The bleeds stop when the vampire feeds or sleeps, depending on what caused the bleeds in the first place. If a vampire experiences the bleeds long enough, they will perish.

While vampires are unable to hold in anything but blood, they can experience joy in smoking cigars and cigarettes. Since their bodies heal any damage rapidly, smoking will not have any lasting effect on a vampire.

A vampire that has been incapacitated without the ability to feed will henceforth continue living, albeit in great constant suffering due to the lack of sustenance, and will eventually perish.

Vampire blood, or “V”, is the life essence of vampires.

It is illegal to hold or ingest vampire blood due to its drug qualities, and, since the Great Revelation, there has been a growing black market for vampire blood. Some vampires are kidnapped by “Drainers,” people who capture vampires and farm them for their blood. When a drainer has taken all the blood he/she can from a captured vampire or has no further use for them, they often kill their victim. Vampire blood is sold for $200$600 per 1/4-ounce, and is ingested in small amounts (1-2 drops). If the blood is not fresh, it can be cut with aspirin to prevent it from coagulating, and to extend the high.

Vampire blood has the following effects on humans and supernatural creatures:

In addition, if a human ingests an excess amount of vampire blood (i.e. more than 1-2 drops), the effects may persist longer than intended. For instance, after he drank a vial of vampire blood, Jason Stackhouse experienced sweating, exhaustion, and a persistent erection (which caused priapism), resulting in Tara Thornton taking him to the hospital.

Vampires are naturally predatory creatures, and are often far more violent and savage than their human appearance suggests. Although they can control themselves in a sophisticated and human-like manner, duress reduces them to a more feral state. For instance, threats or insults are met with hissing, growling, and baring their fangs.

Vampires are capable of human emotions, such as compassion, love, and self-control. However, vampire emotions are not as intense as human emotions, perhaps because of their infinite lifespans(Pam remarked that vampires learn to let go of cumbersome emotions because they will have to carry them for so much longer than a human would). Vampires also have a tendency to slip into nihilism and discard their sense of morality, especially in their younger years. Such moral bankruptcy is exhibited by Queen Sophie-Anne, Salome Agrippa, Russel Edgington and even Godric, in his early years. However, they are able to experience more powerful and diverse sensations than humans (although they cannot feel the sensation of coldness). Despite having themselves been humans originally, some vampires believe that their advanced senses to justify their brutality towards their prey; they consider themselves higher beings, entitled to do what they please with “lesser creatures.” Not all vampires endorse this philosophy. Some vampires justify their actions by arguing “It’s our nature.” Some, such as Russel Edgington, don’t bother to justify their actions at all and do as they please because they can. Others, such as James Kent, choose to remain peaceful and nonviolent even from an early age.

Despite their vicious and bloodthirsty nature, vampires appear to become more civilized with age, exhibiting greater emotional capacity and understanding of humans and other supernatural creatures. Age is often accompanied by personal evolution and a more sophisticated demeanor. For instance, Godric, who lived for +2,000 years, evolved from a brutal and savage vampire who believed humans were inferior to a wise, repentant, peaceful vampire who, shortly before choosing to end his life, stated that he believed co-existence between humans and vampires was possible. Additionally, Roman Zimojic stated that, when he was a young vampire, he was governed by bloodlust and impulses, but later evolved into a more decent being as he grew older.

However, age does not always bring this development. When +3,000 year old vampire Russell Edgington lost his progeny/husband of 700 years, Talbot Angelis, he began a murderous rampage that eventually ended in his death. Macklyn Warlow, who is older than both Russell and Godric, when faced with the prospect of Sookie going back on her word, threw a child-like temper tantrum, endangering the lives of Sookie and her friends, and his actions ultimately led to his demise. All vampires struggle to control their darker side, but, in many cases, their decency does prevail.

Vampires do not physically age, retaining their appearance after being turned. The only noticeable effects of aging are that they become physically stronger with age, and more vulnerable to sunlight. This leads many to call them “immortal” though this is not the case; they are still susceptible to death and do not live forever.

The supernatural forces that sustain them beyond mortal death also endow them with immunity to aging, heightened senses, and superhuman abilities which make them physically superior to humans.

Sophie levitates to soon take flight.

Jessica using Glamour on Hoyt Fortenberry

Lorena displays superhuman speed

Lilith, the sirens and Bill (Billith) showed some abilities not possessed by other vampires.

Vampires have a number of weaknesses, which range from irritating to fatal (it should be noted that the death of a vampire is referred to as the “true death”).

Franklin after being staked.

Vampires can achieve a temporary invulnerability to at least some of their weaknesses consuming the blood of a Faerie. These enhancements last much longer, if they ingest the blood of a faerie-vampire hybrid.

Depending on the amount of blood consumed, vampires grow immune to their weakness to sunlight after drinking fairy blood. The effects last shortly, however, and the pureness of the blood is a factor too; after drinking a hybrid’s blood, Russell Edgington burned in the sun quite shortly afterwards (though the blood did prevent him from bursting into blue flames like Godric), while Eric Northman spent at least an hour in the sun after completely draining a full-blooded faerie.

Delayed true death of Russell.

Russell Edgington has been shown to be able to resist for a short time at the stakeout after drinking the blood of Fairy. At first his wounds begin to expel a bright light, because of the blood Faerie, shocking everyone including Russell, who thinks the fairy blood would allow him to survive. However, in light of the fairies expulsion from him soon wears off and proceed to decompose and implodes meeting the true death. It is further to be doubted that Faerie blood renders a vampire immune to staking when even Warlow, a vampire over 2,600 years older and Faerie-vampire was not able to resist the staking.

Also, when a vampire has drunk the blood of a fairy, become immune to the magic of the fairies including photokinesis and are able to see them when transmitting invisible.

Blood of a Faerie-vampire will allow a vampire to walk the sun indefinitely. The effect of faerie-vampire blood disappears immediately upon the death of the source, regardless of distance. It is marked both by a tremor and a visible light expulsion effect, when it occurs.

Vampires have their own governmental system.

Within vampire communities, most vampires live in harmony, and racism and homophobia are virtually non-existent.

Some humans display bigoted and racist attitudes towards vampires due to fear and/or prejudice. Others support the Vampire Rights Amendment (which campaigns for equal rights between humans and vampires).

Nan Flanagan on TBBN as a representative of AVL.

Since the Great Revelation, vampires have been trying to influence human politics through organizations such as the American Vampire League, in order to campaign for equal rights, such as vampire-human marriage.

The festival of tolerance, an event pro-vampire.

Vampires have been shown to be tolerated by the United States, Canada, the United Kingdom, Japan, and the majority of MED countries. However, vampires are hunted in the majority of Islamic and South American countries, and most African countries refuse to acknowledge the existence of vampires.

Vampires maintain differing opinions concerning humans. The Authority and the American Vampire League aim for mainstreaming. While some vampires agree that humans and vampires should be equals, others believe that they are above humans. “Mainstreamers” is the name for vampires that support equality and peaceful interaction between the two races. The Sanguinista movement is opposed to mainstreaming and supports the belief that vampires should dominate humans.

Nonetheless, in many cases, vampires engage in relationships with humans, in which vampires claim a human as who wants protection, or whom they care about. The human sustains the vampire in return. The vampire identifies the human as “theirs”, and this claim forbids other vampires from harming the human. A vampire can only claim one human, and a human cannot be claimed by multiple vampires at the same time. Some vampires also engage with humans in relationships that are indistinguishable from those held between humans, such as marriage or romantic relationships. This sort of relationship is a recent development, and has only come into existence after the end of the Great Revelation. Vampire groupies, or people who have sex with and are willingly fed upon by vampires, are referred to as “fang bangers”, which is viewed as a derogatory term used by humans.

Since the Great Revelation, vampires have moved to take their place in human society. They hold all sorts of jobs and pay taxes. Human law does protect vampires, but they do not yet have full rights. American pro-vampire lobbyists strive to get the Vampire Rights Amendment(VRA) passed by the government. This would grant vampires full rights as American citizens. It is later mentioned that the VRA did not pass, due to the influence of Governor Truman Burrell

Vampires dislike shapeshifters and werewolves. They are accepting of practicing witches, but do not tolerate necromancy, as this is a possible threat to them. They do the best they can to stamp out necromancy whenever possible. Vampires find faeries irresistible because the smell of their blood is extremely enticing to them.

The majority of Vampires does not know about the existence of Maenads. This is shown when neither Bill nor Eric knew what Maryann Forrester was and had to seek Queen Sophie Anne`s assistance. Sophie Anne only knew about Maenads due to a book she had. It can be assumed that Vampires are not too fond of Maenads as their black blood is poisonous.

A vampire who has broken the law.

Vampires live according to the laws of the Authority. Magisters, kings and queens however, can declare edicts and create new laws. Laws among vampires include:

Vampires also have laws regarding humans. These are recognized by human systems, but are sometimes ignored due to anti-vampire prejudice. These Laws include.

Punishments, due to violations, are administered by the Authority, Magisters, kings, queens or sheriffs, depending on the seriousness of the crime. There are set punishments for crimes, but a Magister can change the punishment if they wish. For instance, when Bill Compton killed Longshadow, the set punishment was five years in a coffin encased with silver. However, as the Magister was intrigued by the case (as Bill killed in order to protect Sookie Stackhouse, a presumed human), he decided that Bill had to create another vampire, Jessica Hamby, to replace the vampire he killed.

A Faerie-vampire is a combination of a vampire and a faerie which has both traits and also have both abilities. These type of hybrid are created when a faerie is turned into a vampire. They will become a hybrid with the unified powers of both faeries and vampires, making them possibly one of the most powerful supernatural species on the show.

Infected Vampires is the term that the writers have used to describe the vampires who have survived being infected with Hepatitis V. In addition to having some physical characteristics slightly different from normal vampires, vampires infected have a greater thirst for blood and their attitude is more animalistic than other vampires.

Guide to the heir of Lilith

The only faerie-vampire in existence

Chancellor of the Authority

Lilith’s Heir (Former)

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Vampires – Pottermore

Although vampires exist in the world of Harry Potter, as shown by the literature that Harry and his friends study in Defence Against the Dark Arts, they play no meaningful part in the story. The vampire myth is so rich, and has been exploited so many times in literature and on film, that I felt there was little I could add to the tradition. In any case, vampires are a tradition of Eastern Europe, and in general I tried to draw from British mythology and folklore when creating adversaries for Harry. Aside from passing mentions, therefore, the only vampire whom Harry meets in the books is Sanguini in Half-Blood Prince, who makes a faintly comic appearance at a party.

Looking back through my earliest notebooks, however, I found that on my very earliest list of staff, there was a subjectless vampire teacher I had forgotten, called Trocar. A Trocar is sharply pointed shaft inserted into arteries or cavities to extract bodily fluids, so I think it a rather good name for a vampire. Evidently I did not think much of him as a character, though, because he disappears fairly early on in my notes.

For a long time there was a persistent fan rumour that Snape might be a vampire. While it is true that he has an unhealthy pallor, and is sometimes described as looking like a large bat in his long black cloak, he never actually turns into a bat, we meet him outside the castle by daylight, and no corpses with puncture marks in their necks ever turn up at Hogwarts. In short, Snape is not a revamped Trocar.

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Vampires(?) | Slay the spire Wiki | FANDOM powered by Wikia

Vampires is an Event found in Act 2.

Navigating an unlit street, you come across several hooded figures in the midst of some dark ritual. As you approach, they turn to you in eerie unison. The tallest among them bares fanged teeth and extends a long, pale hand towards you.

“Join us [brother/sister/broken one], and feel the warmth of the Spire.”

[Offer: Blood Vial] Remove all Strikes. Receive 5 Bites.

[Accept] Remove all Strikes. Receive 5 Bites. Lose 30% Max HP.

[Refuse] (Nothing happens)

The pale figures gasp as you take out the Blood Vial.

“The master’s blood… the master’s blood! THE MASTER’S BLOOD!”

They all chant fervently as the tall one bows before you. “Drink from His blood, and become one with Him.”

The chant growing louder, you consume the contents of the vial. Your vision immediately warps and fades to darkness.

You wake up some time later, alone. An intense hunger passes through your belly. You must feed.

All Strikes are removed from your deck and 5 Bites are added. You lose the Blood Vial.

The tall figure grabs your arm, pulls you forward, and sinks his fangs into your neck. You feel a dark force pour into your neck and course through your body.

You wake up some time later, alone. An intense hunger passes through your belly. You must feed.

All Strikes are removed from your deck and 5 Bites are added. You lose 30% of your Max HP.

You step back and raise your weapon in defiance. The tall figure sighs. “Very well.” The entire group of hooded figures morph into a thick black fogs that flows away from you.

You are alone once more.

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1980s horror movie poster logos and typography.

Lettering and typography from the pre-Trajan era






A NIGHTMARE ON ELM STREET (1984) This is not from a poster; its the on-screen title of the movie. Designed by Dan Perri.




It amazes me how few movies have an identity. While millions of dollars are spent on the marketing campaign of Hollywood movies, their logos or wordmarks are usually much cheaper: $35 (the price of the Trajan movie font. on

Logos/wordmarks like you see above are gradually becoming extinct. Theyre being replaced by Trajan, which has become the go-to font for horror movie posters. As a result, very few movie identities stand out from the crowd. Typography is hardly ever used anymore to express the theme or atmosphere of a movie (exceptions being Saw (2004) or House of the devil (2009) ).

If your movie is frightening, disgusting or gory, why not communicate that with moviegoers? Thats what they did during the 1980s. As a result every movie or franchise had its own unique identity. All the poster designers needed was a pen and ink. Thats even cheaper than $35!

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Vampires – Supernatural Beings Wiki

Vampires are a breed of supernatural undead beings. Known as creatures of the night, Vampires are immortal beings that feed on the blood of the living.Origin of VampiresEditBecoming a VampireEdit

In order to become a Vampire, one must consume the blood of a Vampire and die while the blood is still in one’s system. If the body is preserved during death, one will awaken in a state of transition. In order to survive and complete the transformation into a Vampire, one must then drink the blood of the living within a day after awakening or they will still die.

The process of turning a human into a Vampire is called siring. The Vampire whose blood the human consumed to begin the transition is called a sire. This process creates a powerful and complex bond between the creator and the created Vampire, although how this bond develops is dependent on the two individuals in question.

Newborn Vampires may develop a parental or familial bond with their sire, viewing their sire as a parent or sibling. However, a sire bond between Vampires may also be sexual in nature when there was already an attraction to begin with. If there was animosity between the sire and sired or the change was forced, the bond may be one of rivalry or true anger and hate.

Vampires are individual beings that do not participate in a structured society. Each Vampire chooses their own path and most are driven by their own desires. Vampires are predators by nature and will often be driven by their taste for blood. However, as individuals, the personality of Vampires is based on who they were as humans. For this reason, some Vampires seek to blend into human society while others believe themselves above them, viewing humans as little more than a source of food.

Although Vampires do not live in a structured society, they are still bound by certain rules that have been in place for centuries. One of these rules is to never expose the existence of Vampires to the world. Another rule is to never sire a child, as these immortal children will never age and will eventually be driven insane and become uncontrollable.

Vampires have no true hierarchy, however, the status and power of Vampires is determined by their age. Vampires grow more powerful the longer they are undead. For this this reason, younger Vampires will often be cautious of older Vampires and will treat them with respect. Sometimes younger Vampires seek the leadership and guidance of older Vampires, especially when they have only just been converted.

Vampires are undead immortals and such such, do not require sustenance like the living. Instead, they are dependent on the blood of the living in order to sustain themselves. Vampires can survive on both human blood and animal blood, though the consumption of animal blood will not sustain them for long and feeding solely on animal blood will eventually weaken the Vampire.

Vampires appear indistinguishable from regular humans, although their body temperature is considerably lower. Although they do not require air, Vampires breathe in a shallow manner as a reflex because their subconscious still believes they require oxygen. Vampires have a weak heartbeat, as the heart still pumps blood through their bodies to keep it mobile, though their other organs have become dormant.

When triggered by hunger or experiencing extreme emotions such as anger, Vampires grow sharp fangs that can easily shred through skin. In this state, blood rushes to their eyes, turning the eyes and the veins around the eyes dark red.

Blood of Vampires contain properties that allow Vampires to quickly regenerate from bodily harm, allowing them to heal from seemingly fatal injuries within hours or even moments. When the living ingest their blood, it passes on this regenerative factor and allows them to recover from otherwise potentially fatal injuries.

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[ A vampire is a creature whose soul is entirely separate from his body, but is able to control his empty shell. In other words, a vampire is a creature who can do what he pleases with his own soul. ]

Gerhardt von Waldstein to Shizune Kijima, Vamp!

There are approximately fifty thousand vampires currently living on Earth.

For a list of important vampires turned, pureblood, or otherwise please consult the vampires category. Other, less important named vampires may be found at the Organization and Clans pages.

As Gerhardt von Waldstein explains it, one might say that a vampire’s soul “uses telekinesis to animate his own corpse.” He clarifies that “this is the ability to control the matter that composes one’s body, on a molecular or even atomic level.” This principle explains (for example) why some vampires can turn their bodies into a flock of bats, or turn into a patch of fog. With the former, there is one consciousness that controls several individual beings which is possible because of telekinesis. With the latter, a vampire is able to move in fog form because it is their soul controlling the matter’s movements.

A vampire’s blood “is the catalyst that circulates the soul’s energy through his body.” This might explain why the heart is a weakness for many vampires; as Melhilm Herzog theorized, if one considers the soul a remote control, the heart might be a receiver for the signals sent from the soul. If a vampire’s heart is not one of their weaknesses, then they must use different parts of their bodies as receivers instead.

If a vampire perceives the world through their soul, they automatically see past illusions. In Gerhardt’s case, his physical form (liquid blood) does not have eyes, so he perceives the world through his soul. This is why he can only perceive Valdred Ivanhoe in his true form (a watermelon), and cannot see Val’s illusions.

The act of drinking someone’s blood is more than simple consumption; by drinking someone’s blood, a vampire is sharing their very soul with them. The soul is also why vampires are unable to transfer power when bloodsharing as the souls of two vampires are on ‘different wavelengths’, their souls reject each other rather than cleave together. This is why vampires must drink the blood of Eaters if they wish to gain the power of other vampires: a human’s blood acts like an adhesive to which a vampire’s soul and powers stick.

Vampires can ‘evolve’ or metamorphose from humans, animals, insects and plants – though one may also say that their souls evolved, rather than their bodies. Some animal and plant-based vampires can assume humanoid form, though some do not. There are cases of highly unique vampires who do not fall under any of the aforementioned species for instance, Hawking is a black hole vampire, and RX777 is a robot vampire.

Plant-based vampires occur when a plant absorbs the blood and soul of one or many vampires. In the case of the alraune Selim Vergs, she was originally a flower who gained sentience after she was showered with the blood of an executed vampire.

Vampires have an incredibly high mutation rate in some cases, there have been reports of mutations happening over a single generation due to individual will or effects of religion.

Through selective breeding, certain vampiric traits can be preserved and enhanced through bloodlines such as vampires of the Sunford Clan line, who are all immune to sunlight. On a more artificial level: in Melhilm’s pursuit of thoroughbreds and for the coelacanth, he supervised generations of breeding between powerful vampires in the hopes of eventually creating an all-powerful vampire with no weaknesses.

Contrary to some human myths, vampires typically do have heartbeats since the heart supplies nutrients to one’s body. This does not apply to vampires who require other means of sustenance to live, such as plant-based vampires who depend on photosynthesis. However, most vampires do not need to breathe.

It has been theorized that vampires turn to ash upon death because their bodies were “originally formed of mutated substances of similar composition.”

Vampires who have few weaknesses tend to have fewer abilities and lower reproductive capability. The same lowered reproductive capability is also found in vampires with many strengths and few weaknesses – after all, if a vampire cannot die it has no reason to leave behind progeny.

A vampire has three options when they bite a human: they can drink the human’s blood, subjugate them, or turn them. To turn a human, a vampire bites them and infuses the human with the vampire’s own soul. It has been rumored that the Kumanobe Clan knows of a way to revert a turned vampire back into a human. A turned vampire stops aging once they have been turned, whereas a born vampire stops aging in their youth.

Humans have feared vampires since time immemorial, as seen in the common portrayal of vampires as predators and monsters in their mythologies. In modern times most humans do not believe in vampires and other supernatural beings, save for those who worship the occult or have had encounters with vampires in the past.

Though most vampires do tend to be more powerful than humans, the average vampire avoids them and fears detection. After all, the entirety of Earth’s vampire population (fifty thousand or so) make up less than .001 percent of the human population. For every vampire, there are a hundred thousand humans who will likely be hostile to them. Many vampires thus choose to live on the outskirts of settlements, alone and away from prying eyes.

The most unusual and prominent example of humans coexisting with vampires is the island Growerth, which is home to an unusually large concentration of vampires and other supernatural beings.

The act of eating another vampire’s flesh is on the same level as human cannibalism and considered a taboo by some, though it is unclear how widespread this opinion is. Drinking another vampire’s blood is considered a sacred ritual of bloodmixing by the Clans, and Clan members will only share blood with other Clan members. Whether non-Clan vampires hold different beliefs, and what those beliefs might be, are yet to be made clear.

There are three main groupings of vampires:

The first are vampires who either act alone, or in small groups. ‘Small groups’ can broadly range from bands to entire villages.

The second are ‘families’ who form Clans. These are usually pureblooded vampires, old-fashioned aristocrat types who tend to view humans as inferior creatures prey, slaves, and worthy of disdain.

The third is The Organization, a large-scale ‘social gathering’ of twenty-thousand or so vampires of all types. It was formed centuries prior to the 2000s, and serves as an information exchange network and aims to protect vampires from human persecution.

The amount of abilities and weaknesses one has, as well as how effectual or debilitating they are, ranges wildly from vampire to vampire (or bloodline to bloodline). This is why the depictions of vampires vary in different human mythologies – each depiction is true.

This means that even the most basic assumptions one might have about a vampire do not necessarily apply to all. The idea that vampires need blood to live is one of the most pervasive ones in human mythologies – however, in Vamp! – while some vampires do need blood to live, others do not at all. Some might require human blood, while others can survive on animal blood. Hunger cycles vary as well: some vampires need blood often and regularly while others might only need it once per month.

(Note: These lists only include the powers and abilities that have been mentioned in Vamp!. However, given the series’ premise that all human mythological depictions are true, one should assume that any ability or weakness that vampires display in actual mythologies are valid traits a Vamp! vampire might have. For example, in some mythologies a vampire must be formally invited in before they can step over a threshold. This has not been mentioned specifically in the series, but it is almost certain it exists)

Many vampires in Vamp! have abilities traditionally associated with vampires in human myths, and more untraditional abilities. These include:

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Reviewed and Recommended by Erik Baquero
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‘The Walking Dead’ Season 9, Episode 13 Review …

Spoilers through Season 9 of ‘The Walking Dead’ follow.

Sunday night’s episode of ‘The Walking Dead’ was exciting and action-packed, and the best episode in Season 9B.Credit: AMC

The Walking Deadhas gotten off to a strangely slow start in Season 9B. Following an exciting—if tragic—midseason finale, I was expecting things to get crazy fast. After all, the Whisperers had made their big opening move, killing Jesus and harrying the surviving companions.

Instead, the back half of Season 9 has been weirdly flat. Somehow it’s felt both rushed and stagnant. That’s an odd achievement. But if you think about it, many of the important story beats have been hurried or glossed over. Henry and Lydia’s relationship, for instance, seems to have popped out of nowhere and blossomed much too quickly, with Henry falling head over heels for Lydia much too quickly. That’s already gotten him in plenty of trouble, and it would have been more believable if their relationship had more time to grow and develop before Alpha came and took Lydia back.

Likewise, Alpha’s backstory and the various Whisperer reveals have all felt premature, giving away the mystery much too soon. I still don’t understand why we got so much so soon, and feel like audiences have been robbed of some cool surprises. But while that’s been rushed, the rest of the story has been plodding along. Filler has always been a problem with this show, and that’s on garish display in 9B.

Until now.

“Chokepoint” was, for the most part, a fantastic episode. It’s certainly the first episode of 9B that had me on the edge of my seat. Mostly that’s because of Beta (Sons of Anarchy’sRyan Hurst) who is just wonderfully scary and intimidating. The guy is huge, for one thing (at 6’4″ he’s got an inch on me) and in his trenchcoat and walker skin he’s quite the striking figure, whether shambling slowly with his “guardians” or charging through a wall to attack Daryl.

Beta is terrifying.Credit: AMC

That whole fight scene was just phenomenal. I’m not sure if we’ve ever had a fight scene this good inThe Walking Dead,but this has to be top five at least. Daryl made it out of the brawl without a scratch, but it could have gone very badly for him. He uses his wits to beat the giant in the end (the knives weren’t really working) hiding under the floor and then ambushing Beta and pushing him into an elevator shaft. Naturally, Daryl thinks Beta is dead, but we know better. At the end of the episode we see him clamber to his feet, obviously hurt and even more obviously enraged. Uh-oh.

I’m not sure that Connie’s idea to ambush the Whisperers in the building was the best idea ever. Surely they could have simply kept moving quickly and reached a more fortified position with allies. Daryl doesn’t want to take Lydia back to Hilltop because it would draw the Whisperers there (and there are alotof Whisperers) but I’m struggling to see what the alternative is. Won’t Alpha just go to Hilltop anyways, if only to take vengeance? Or hostages? And if they don’t go to Hilltop or Alexandria or the Kingdom, they’ll have to run . . . farther away? Are we setting up a new subplot with Daryl, Connie, Henry and Lydia all on the run?

Despite all that, the scene itself worked well. They prevent the walkers from moving to higher floors in the building and then pick off the Whisperers one by one. Henry gets hurt, but they make it out mostly intact and Daryl—after witnessing Henry and Lydia’s young love—grudgingly agrees to take Lydia with them. Connie plays a big part in that decision as well, telling Daryl that while she may indeed put them and their friends in danger, at least they have friends. Lydia has none.

I’m really digging Daryl and Connie, by the way. Two weeks ago I said I’m rooting for a Daryl/Connie relationship, and I’m still rooting for that now. Daryl needs some love in his life, and I like this adventure as a setup for that. Connie is a great, tough character. Smart, brave and a good shot. Given she’s about as chatty as Daryl, they’re perfect for one another.

Lauren Ridloff as Connie, Norman Reedus as Daryl DixonCredit: AMC

Meanwhile, in the Kingdom . . . .

The eve of the fair is upon us, and with it comes a new threat: The Highwaymen. This new group has waylaid Jerry and some of the Kingdom’s other scouts and sent them back with a letter that’s basically a shakedown. Pay up or they won’t let anyone pass. Classic banditry. With a little time, they could set up an outpost, maybe a little motte and bailey, call the shakedown taxes and heyvoila!you have government and society.

In any case, Ezekiel is angry and he gathers his warriors and goes to take on this new threat. But Carol has another idea. They wrote a letter demanding payment, not threatening to kill everyone. Not demanding “all your stuff” like Negan. How about, instead of fighting and risking lives, they talk instead.

It doesn’t go great at first. The Highwaymen aren’t interested in bartering. But Ezekiel and Carol have get the jump on them. The Kingdom fighters sneak in and surround the Highwaymen. So diplomacy happens. Ezekiel offers the Highwaymen a job: Keep the roads safe and they’ll have access to the Kingdom and the fair. The bandits aren’t interested until Carol puts a cherry on top.

“How long has it been since any of you have seen a movie?” she asks. “Seriously?” the Highwaymen leader asks. It’s kind of a great moment, actually, because it really would be those small things that we take for granted—movies, hot showers, toilet paper—that you’d miss in the apocalypse.

So the Highwaymen take the job and get to work right away, showing up just in time to help Tara’s group fight off some zombies. Tara and her Hilltopians got stuck when this tree blocked the road:

James Chen as Kal, Eleanor Matsuura as Yumiko, Alanna Masterson as Tara Chambler, Anthony Lopez as OscarCredit: AMC

This qualifies as the one Very Stupid Moment of the episode. This is not a very large fallen tree. Tara’s people are trying to clear it by way of chopping through it with an axe. Um . . . no, that will take forever and be exhausting. Why not just get all these able-bodied young people together and lift the log up and out of the way? It seriously wouldn’t be that difficult. Also they have horses who could be used to help pull it if need be.

I just don’t understand scenes like this. Why not show them get stuck by the log and just as they’re starting to move it, walkers come pouring out of the woods? That’s almost what the scene was, but they make this rather piddly log seem like such a huge blockade. It’s just silly.

The action wasn’t bad, at least. The blacksmith gets pinned by a walker and his wife has to put their new baby in a box and then kill a few of the dead in order to save him. I’m glad the show is giving smaller characters like this more to do. We need to establish characters we actually care about.

In the end, the Hilltop people make it to the Kingdom where Tara is just flabbergasted that Daryl and Henry and Connie haven’t shown up. This is also kind of silly. She knows Henry went after Lydia and thathe’s in incredible danger. Daryl and Connie are also in a very perilous situation tracking him. It’s nice and comforting to think that it all just went great and they’re already safe and sound at the Kingdom—but it’s neither likely nor realistic to think that way. It’s honestly a little weird that Tara and the others even left for the fair before Daryl returned.

Okay, so there are some kind of stupid things going on here and there especially with Tara’s subplot, but other than that this was a great episode. I loved that fight scene. Beta is a terrific new bad guy. Daryl is so much better this season it’s not even funny. I’m hoping they can start writing Henry better—his naivete is just ridiculous when you consider they’ve written the far younger Judith as little miss badass—but I have hope. And I like Lydia.

What did you think of tonight’s episode? We have three more after this before the season is over. Let me know your thoughts on Twitter or Facebook.

‘The Walking Dead’ Season 9, Episode 13 Review …

Reviewed and Recommended by Erik Baquero
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Grindhouse (film) – Wikipedia

2007 double feature film consisting of Planet Terror and Death Proof

Grindhouse is a 2007 American horror film double feature co-written, produced, and directed by Robert Rodriguez and Quentin Tarantino. The double feature consists of two feature-length segments, Rodriguez’s Planet Terror and Tarantino’s Death Proof, and is bookended by fictional trailers for upcoming attractions (though three of the trailers, Machete, Machete Kills and Hobo with a Shotgun, have since been made into movies), advertisements, and in-theater announcements. The film’s title derives from the U.S. film industry term “grindhouse”, which refers to (now mostly defunct) movie theaters specializing in B movies, often exploitation films, shown in a multiple-feature format. The film stars Rose McGowan, Freddy Rodriguez, Marley Shelton, Michael Biehn, Jeff Fahey, Josh Brolin, Naveen Andrews, Fergie, Bruce Willis, Kurt Russell, Rosario Dawson, Tracie Thoms, Mary Elizabeth Winstead, and stuntwoman Zo Bell, who plays herself.

Rodriguez’s segment, Planet Terror, revolves around an outfit of rebels attempting to survive an onslaught of zombie-like creatures as they feud with a rogue military unit, while Tarantino’s segment, Death Proof, focuses on a misogynistic, psychopathic stuntman who targets young women, murdering them with his “death proof” stunt car. Each feature is preceded by faux trailers of exploitation films in other genres that were developed by other directors.

After the film was released on April 6, 2007, ticket sales performed significantly below box office analysts’ expectations despite mostly positive critic reviews. In much of the rest of the world, each feature was released separately in extended versions. Two soundtracks were also released for the features and include music and audio snippets from the film. The feature later found more success on DVD and Blu-ray. In several interviews, despite the box office failure, the directors have expressed their interest in a possible sequel to the film due to its critical acclaim and successful home media sales. Three spin-off films were later made, based on Grindhouse’s fake trailers: Machete, Machete Kills and Hobo with a Shotgun.

In a rural town in Texas, go-go dancer Cherry Darling decides to quit her low-paying job and find another use for her numerous “useless” talents. She runs into mysterious ex-boyfriend El Wray at the Bone Shack, a restaurant owned by J. T. Hague. Meanwhile, a group of military officials, led by the demented Lt. Muldoon, are making a business transaction with a scientist named Abby for mass quantities of a deadly biochemical agent known as DC2 (codename “Project Terror”). Muldoon learns that Abby has an extra supply on hand and attempts to take him hostage. Abby intentionally releases the gas into the air. The gas reaches the town and turns its residents into deformed bloodthirsty, man-eating psychopaths, mockingly referred to as “sickos” by the surviving humans. The infected townspeople are treated by the sinister Dr. William Block and his abused, neglected anesthesiologist wife Dakota at a local hospital. As the patients quickly become enraged aggressors, Cherry and El Wray lead a team of accidental warriors into the night, struggling to find safety.

Three friends Arlene, Shanna, and radio disc jockey “Jungle” Julia spend a night in Austin, Texas for fun, unknowingly followed by a mysterious man in a souped-up 1971 Chevy Nova. The man, Stuntman Mike, stalks the young women with his “death proof” car, eventually killing all three. Fourteen months later, Stuntman Mike, now in Tennessee and driving a 1969 Dodge Charger, tails another group of young women Lee, Abernathy, and stuntwomen Kim and Zo a group of women working below the line in Hollywood, whose stock 1970 Dodge Challenger proves a worthy adversary.

Before each segment, there are trailers advertising fake films, as well as vintage theater snipes and an ad for a fictional restaurant called Acua Boys. According to Rodriguez, it was Tarantino’s idea to film fake trailers for Grindhouse. “I didn’t even know about it until I read it in the trades. It said something like ‘Rodriguez and Tarantino doing a double feature and Tarantino says there’s gonna be fake trailers.’ And I thought, ‘There are?'”[7] Rodriguez and Tarantino had originally planned to make all of the film’s fake trailers themselves. According to Rodriguez, “We had so many ideas for trailers. I made Machete. I shot lobby cards and the poster and cut the trailer and sent it to Quentin, and he just flipped out because it looked so vintage and so real. He started showing it around to Eli Roth and to Edgar Wright, and they said, ‘Can we do a trailer? We have an idea for a trailer!’ We were like, ‘Hey, let them shoot it. If we don’t get around to shooting ours, we’ll put theirs in the movie. If theirs come out really great, we’ll put it in the movie to have some variety.’ Then Rob Zombie came up to me in October at the Scream Awards and said, ‘I have a trailer: Werewolf Women of the SS.’ I said, ‘Say no more. Go shoot it. You got me.'”[8] Each trailer was shot in two days. While Wright and Roth shot only what ended up on screen, Zombie shot enough footage to work into a half-hour film and was particularly pained to edit it down.[9] Some Canadian screening releases included the South by Southwest-winning trailer Hobo with a Shotgun.[10]

Rodriguez wrote Machete in 1993 as a full feature for Danny Trejo. “I had cast him in Desperado and I remember thinking, ‘Wow, this guy should have his own series of Mexploitation movies like Charles Bronson or like Jean-Claude Van Damme.’ So I wrote him this idea of a federale from Mexico who gets hired to do hatchet jobs in the U.S. I had heard sometimes FBI or DEA have a really tough job that they don’t want to get their own agents killed on, they’ll hire an agent from Mexico to come do the job for $25,000. I thought, ‘That’s Machete. He would come and do a really dangerous job for a lot of money to him but for everyone else over here it’s peanuts.’ But I never got around to making it.”[7] The trailer was made into a feature film which was released in September 2010; a sequel, Machete Kills (2013), followed.[11][12]

Rob Zombie’s contribution, Werewolf Women of the SS, starred Nicolas Cage as Fu Manchu; Udo Kier as Franz Hess, the commandant of Death Camp 13; Zombie’s wife, Sheri; and Sybil Danning as SS officers/sisters Eva and Gretchen Krupp (The She-Devils of Belzac). Professional wrestlers Andrew “Test” Martin and Oleg “Vladimir Kozlov” Prudius also featured, plus Olja Hrustic, Meriah Nelson, and Lorielle New as the Werewolf Women. According to Zombie, “Basically, I had two ideas. It was either going to be a Nazi movie or a women-in-prison film, and I went with the Nazis. There’re all those movies like Ilsa, She Wolf of the SS; Frulein Devil; and Love Camp 7I’ve always found that to be the most bizarre genre.”[7] Zombie is also quoted as saying “I was getting very conceptual in my own mind with it. […] A lot of times these movies would be made like, ‘Well, you know, I’ve got a whole bunch of Nazi uniforms, but I got this Chinese set too. We’ll put ’em together!’ They start jamming things in there, so I took that approach.”[9]

Edgar Wright’s contribution, Don’t, was produced in the style of a 1970s’ Hammer House of Horror film trailer.[13] The trailer featured appearances from Jason Isaacs, Matthew Macfadyen, singer Katie Melua, Lee Ingleby, Georgina Chapman, Emily Booth, Stuart Wilson, Lucy Punch, Rafe Spall, Wright regulars Simon Pegg and Nick Frost, and a voice-over by Will Arnett.[9][14] Mark Gatiss, MyAnna Buring, Peter Serafinowicz, Michael Smiley and Nicola Cunningham (who played the zombie “Mary” in Shaun of the Dead), among others, made uncredited cameo appearances. To get the necessary 1970s look, Wright used vintage lenses and old-style graphics. During editing, he scratched some of the film with steel wool and dragged it around a parking lot to make it appear neglected by wayward projectionists.[9] According to Wright, “In the ’70s, when American International would release European horror films, they’d give them snazzier titles. And the one that inspired me was this Jorge Grau film: In the UK, it’s called The Living Dead at Manchester Morgue. In Spain and in Italy, I think it’s called Do Not Speak Ill of the Dead. But in the States, it was called Don’t Open the Window. I just loved the fact that there isn’t a big window scene in the filmit’s all based around the spin and the voiceover not really telling you what the hell is going on in the film.”[7] On the Charlie Rose talk show, Quentin Tarantino also pointed out another aspect of American advertising of British films in the 1970s that was being referencednone of the actors have any dialogue in the trailer, as if the trailer was intentionally edited to prevent American viewers from realizing that the film is British.[15]

Eli Roth’s contribution is a promo for the slasher opus Thanksgiving. Produced in the style of holiday-themed slasher films like Halloween, Silent Night, Deadly Night, April Fool’s Day and My Bloody Valentine,[9] the trailer starred Jeff Rendell as a killer who stalks victims while dressed as a pilgrim; Jordan Ladd, Jay Hernandez, and Roth himself as his intended victims; and Michael Biehn as the Sheriff. The design for the titles in Thanksgiving was based on a Mad magazine slasher parody titled Arbor Day.[7] Excerpts of the score from Creepshow were used in the faux trailer.

According to Roth, “My friend Jeff, who plays the killer pilgrim we grew up in Massachusetts, we were huge slasher movie fans and every November we were waiting for the Thanksgiving slasher movie. We had the whole movie worked out: A kid who’s in love with a turkey, and then his father killed it, and then he killed his family and went away to a mental institution and came back and took revenge on the town. I called Jeff and said, ‘Dude, guess what, we don’t have to make the movie, we can just shoot the best parts.'”[7] “Shooting the trailer was so much fun,” Roth has stated, “because every shot is a money shot. Every shot is decapitation or nudity. It’s so ridiculous, it’s absurd. It’s just so wrong and sick that it’s right.”[9]

Roth’s fake trailer contained elements that almost earned Grindhouse an NC-17 rating, including a cheerleader simultaneously stripping, bouncing on a trampoline and getting stabbed in the vulva, and three decapitations; the first victim dressed as a pilgrim turkey at a parade gets decapitated and his headless body stumbles around in an exaggerated manner, the second occurs as the victim’s girlfriend performs fellatio on him, and the last decapitation occurs on a man while he is being kissed by a female victim. According to Roth, “Instead of seeing it spread out in a feature, watching it all jammed together non-stop makes it more shocking. But we had a great discussion with the ratings board. They got it. Once they saw it with all the bad splices and the distress and scratches they were fine with it.”[9] Roth confirmed in an interview with Cinema Blend’s Eric Eisenberg that he and co-writer Jeff Rendell are working on a possible feature film.[16]

Some screenings of Grindhouse (mainly in Canada) also featured a fake trailer for a film titled Hobo with a Shotgun.[10] The trailer, created by Dartmouth, Nova Scotia filmmakers Jason Eisener, John Davies, and Rob Cotterill, won Robert Rodriguez’s South by Southwest Grindhouse trailers contest.[17] In the trailer, David Brunt plays a vagabond with a 20-gauge shotgun (changed to a 12-gauge for the actual movie) who becomes a vigilante. In the trailer, he is shown killing numerous persons, ranging from armed robbers to corrupt cops to a pedophilic Santa Claus.[18] The trailer was available in certain selected movie theaters in the United States and Canada.

In 2010, the trailer was made into a full-length feature film starring Rutger Hauer as the hobo, with David Brunt playing a dirty cop.[10][19][20] Hobo with a Shotgun was the second of Grindhouse’s fake trailers to be turned into a feature film, the first being Machete.[21] The film was released March 25, 2011 in Canada,[22] April 1, 2011 on American Video On Demand and May 6, 2011 in U.S. theatres.

The idea for Grindhouse came to Robert Rodriguez and Quentin Tarantino when Tarantino set up screenings of double features in his house, complete with trailers before and in between the films. During one screening in 2003, Rodriguez noticed that he owned the same double feature movie poster as Tarantino for the 1957 films Dragstrip Girl and Rock All Night.[23] Rodriguez asked Tarantino, “I always wanted to do a double feature. Hey, why don’t you direct one and I’ll do the other?” Tarantino quickly replied, “And we’ve got to call it Grindhouse!”[3]

The film’s name originates from the American term for theaters that played “all the exploitation genres: kung fu, horror, Giallo, sexploitation, the ‘good old boy’ redneck car-chase movies, blaxploitation, spaghetti Westernsall those risible genres that were released in the 70s.”[7] According to Rodriguez, “The posters were much better than the movies, but we’re actually making something that lives up to the posters.”[8]

Rodriguez first came up with the idea for Planet Terror during the production of The Faculty: “I remember telling Elijah Wood and Josh Hartnett, all these young actors, that zombie movies were dead and hadn’t been around in a while, but that I thought they were going to come back in a big way because theyd been gone for so long. I said, ‘We’ve got to be there first.’ I had [a script] Id started writing. It was about 30 pages, and I said to them, ‘There are characters for all of you to play.’ We got all excited about it, and then I didn’t know where to go with it. The introduction was about as far as I’d gotten, and then I got onto other movies. Sure enough, the zombie [movie] invasion happened and they all came back again, and I was like, ‘Ah, I knew that I should’ve made my zombie film.'” The story was reapproached when Tarantino and Rodriguez developed the idea for Grindhouse.[8]

As Planet Terror took shape, Tarantino developed the story for Death Proof, based on his fascination for the way stuntmen would “death-proof” their cars. As long as they were driving, stuntmen could slam their cars headfirst into a brick wall at 60mph (97km/h) and survive. This inspired Tarantino to create a slasher film featuring a deranged stuntman who stalks and murders sexy young women with his “death-proof” car.[8] Tarantino remembers, “I realized I couldn’t do a straight slasher film, because with the exception of women-in-prison films, there is no other genre quite as rigid. And if you break that up, you aren’t really doing it anymore. It’s inorganic, so I realizedlet me take the structure of a slasher film and just do what I do. My version is going to be fucked up and disjointed, but it seemingly uses the structure of a slasher film, hopefully against you.”[7]

According to Rodriguez, “[Tarantino] had an idea and a complete vision for it right away when he first talked about it. He started to tell me the story and said, ‘It’s got this death-proof car in it.’ I said, ‘You have to call it Death Proof.’ I helped title the movie, but that’s it.”[8] Of the car chases, Tarantino stated, “CGI for car stunts doesn’t make any sense to mehow is that supposed to be impressive? […] I don’t think there have been any good car chases since I started making films in ’92to me, the last terrific car chase was in Terminator 2. And Final Destination 2 had a magnificent car action piece. In between that, not a lot. Every time a stunt happens, there’s twelve cameras and they use every angle for Avid editing, but I don’t feel it in my stomach. It’s just action.”[7]

According to actress Marley Shelton, “Rodriguez and Tarantino really co-directed, at least Planet Terror. Quentin was on set a lot. He had notes and adjustments to our performances and he changed lines every once in a while. Of course, he always deferred to Robert on Planet Terror and vice versa for Death Proof. So it’s really both of their brainchild.”[24] Tarantino has stated, “I can’t imagine doing Grindhouse with any other director in the way me and Robert did it because I just had complete faith and trust in him. So much so that we didn’t actually see each other’s movie completed until three weeks before the film opened. It was as if we worked in little vacuums and cut our movies down, and then put them together and watched it all play, and then made a couple of little changes after that, and pretty much that was it.”[23]

Many of the cast members had previously worked with both directors. Before appearing in Grindhouse, Marley Shelton had auditioned for The Faculty, but Rodriguez chose not to cast her. She was eventually cast in the role of a customer in the opening sequence of Sin City.[24] Bruce Willis had appeared in both Tarantino’s Pulp Fiction and Rodriguez’s Sin City, in addition to having a cameo appearance in a segment Tarantino directed for the anthology film Four Rooms. Tom Savini had previously acted in From Dusk Till Dawn, which was written by Tarantino and directed by Rodriguez. Michael Parks reprises the role of Earl McGraw in Planet Terror and Death Proof. Parks first portrayed the role in From Dusk Till Dawn. His son, James, appears in Death Proof as Edgar McGraw, a character that first appeared in From Dusk Till Dawn 2: Texas Blood Money. The first time the two characters appeared together was in Tarantino’s Kill Bill. Tarantino himself plays small roles in both segments of Grindhouse, and director Eli Roth, who contributed the fake trailer Thanksgiving and whose film Hostel was produced by Tarantino, has a cameo in Death Proof.

Tarantino attempted to cast both Kal Penn[25] and Sylvester Stallone[26] in Death Proof, but both were unable to work due to prior commitments. In an interview, Tarantino revealed that he decided to cast Kurt Russell as the killer stunt driver because “for people of my generation, he’s a true hero…but now, there’s a whole audience out there that doesn’t know what Kurt Russell can do. When I open the newspaper and see an ad that says ‘Kurt Russell in Dreamer,’ or ‘Kurt Russell in Miracle,’ I’m not disparaging these movies, but I’m thinking: When is Kurt Russell going to be a badass again?”[3]

Rodriguez later revealed that he cast Rose McGowan as Cherry Darling in response to McGowan’s blacklisting from the productions of The Weinstein Company (then the parent company of Grindhouse’s distributor Dimension Films) following Harvey Weinstein’s alleged sexual assault of her.[27]

Rodriguez and Tarantino each acted as cinematographer on their segments. Although Rodriguez had previously worked as the cinematographer on six of his own feature films, Death Proof marked Tarantino’s first credit as a cinematographer. The director of photography for Rob Zombie’s fake trailer Werewolf Women of the SS was Phil Parmet, whom Zombie had first worked with on The Devil’s Rejects. The director of photography for Eli Roth’s fake trailer Thanksgiving was Milan Chadima, whom Roth had previously worked with on Hostel.

Though set in the modern day, the film uses various unconventional techniques to make the films look like those that were shown in grindhouse theaters in the 1970s. Throughout both feature-length segments and the fake trailers, the film is intentionally damaged to make it look like many of the exploitation films of the 1970s, which were generally shipped around from theater to theater and usually ended up in bad shape. To reproduce the look of damaged film reels in Planet Terror, five of the six 25,000-frame reels were edited with real film damage, plug-ins, and stock footage.[28]

Planet Terror makes heavy use of digital effects throughout the film. Perhaps the most notable effect is Cherry’s (Rose McGowan) fake leg. To accomplish the fake leg that Cherry sports after her accident, during post-production the effects teams digitally removed McGowan’s right leg from the shots and replaced it with computer-generated propsfirst a table leg and then an M16 rifle. During shooting for these scenes, McGowan wore a special cast which restricted her leg movement to give her the correct motion, and helped the effects artists to digitally remove it during post-production.[28]

During editing, Tarantino and Rodriguez came up with the idea of inserting “missing reels” into the film. “[Quentin] was about to show an Italian crime movie with Oliver Reed,” Rodriguez recalls, “and he was saying, ‘Oh, it’s got a missing reel in it. But it’s really interesting because after the missing reel, you don’t know if he slept with a girl or he didn’t because she says he did and he says that he didn’t. It leaves you guessing, and the movie still works with 20 minutes gone out of it.’ I thought, ‘Oh, my God, that’s what weve got to do. We’ve got to have a missing reel!’ I’m going to use it in a way where it actually says ‘missing reel’ for 10 seconds, and then when we come back, you’re arriving in the third act. […] The late second acts in movies are usually the most predictable and the most boring, that’s where the good guy really turns out to be the bad guy, and the bad guy is really good, and the couple becomes friends. Suddenly, though, in the third act, all bets are off and it’s a whole new story anyway.”[8]

On the editing of Death Proof, Tarantino stated “There is half-an-hour’s difference between my Death Proof and what is playing in Grindhouse. […] I was like a brutish American exploitation distributor who cut the movie down almost to the point of incoherence. I cut it down to the bone and took all the fat off it to see if it could still exist, and it worked.”[23] An extended, 127-minute version of Death Proof was screened in competition for the Palme d’Or at the 60th Cannes Film Festival.[23][29][30] Tarantino is quoted as saying “It works great as a double feature, but I’m just as excited if not more excited about actually having the world see Death Proof unfiltered. […] It will be the first time everyone sees Death Proof by itself, including me.”[23]

Grindhouse is rated R in the United States for “strong graphic bloody violence and gore, pervasive language, some sexuality, nudity, and drug use”. On March 15, 2007, The New York Post reported that the film would possibly require heavy and extensive cuts in order to avoid an NC-17 rating.[31] Shortly after, the film officially received an R-rating from the MPAA. Ain’t It Cool News reported that according to Tarantino, only minimal cuts were made which ended up totaling 20 seconds.[32]

The music for Planet Terror was composed by Rodriguez. Inspiration for his score came from John Carpenter, whose music was often played on set.[33] A cover version of the Dead Kennedys’ “Too Drunk to Fuck” performed by Nouvelle Vague was also featured. The soundtrack for Death Proof consists entirely of non-original music, including excerpts from the scores of other films. Soundtrack albums for both segments were released on April 3, 2007.

Grindhouse did not perform well at the box office,[34] surprising box office analysts and fans alike given the strong reviews and favorable media buzz.[35] Costing $53million to produce,[2][3] Grindhouse opened poorly with “a disappointing $11.5million” in the United States,[34][36] making a per-theater average of $4,417; box office analysts originally predicted an opening weekend total of at least $20$30million.[37][38]

The opening weekend box office total stood below not only the second weekends of Blades of Glory and Meet the Robinsons, but also fell below the opening weekend gross of the poorly reviewed Are We Done Yet?. In an attempt to explain the film’s disappointing opening weekend, box office analyst Brandon Gray suggested that Grindhouse “suffered the usual horror comedy dilemma that afflicted Snakes on a Plane and Slither among others: too funny to be scary, too scary to be funny.”[34] Box office analyst Lee Tistaert of tracking website Lee’s Movie Info compared the result with what may have happened if Tarantino’s Kill Bill saga had been released as one film, instead of two separate volumes. “Is it possible that Tarantino got his wish this time as a result of two back-to-back $60million grosses?” he asked. Others attributed the film’s disappointing opening to the timing of Easter weekend, noting that the weekend is more tailored for family-oriented films or light-comedy, not exploitative horror films.[39] The film’s lengthrunning more than three hoursalso hurt, keeping away casual theater-goers and limiting the number of screenings that could be held in a day.

Quentin Tarantino was quoted as saying about the film’s box office results, “It was disappointing, yeah. But the movie worked with the audience. […] People who saw it loved it and applauded. […] I’m proud of my flop.”[23] Harvey Weinstein said that he was so “incredibly disappointed” with the film’s opening weekend that he was considering re-releasing it as two separate films and possibly adding back the “missing” scenes.[40] The film altogether earned $25,422,088 in ticket sales.[6]Grindhouse was separated and released internationally: Death Proof grossed $30,663,961,[41] while Planet Terror grossed $10,871,224,[42] bringing Grindhouse’s total gross to $67 million.

In 2017, Rodriguez told Variety that he thinks Weinstein “buried” the film, due to the director’s decision to cast Rose McGowan in Planet Terror. The actress had previously accused Weinstein of raping her.[43]

Grindhouse was embraced by critics; review aggregator website Rotten Tomatoes reported that 83% of critics gave the film a positive review based on a sample of 191reviews, with an average score of 7.4/10. The site’s consensus reads, “Grindhouse delivers exhilarating exploitation fare with wit and panache, improving upon its source material with feral intelligence.”[44] At the website Metacritic, which utilizes a weighted average rating system, the film earned a favorable rating of 77/100 based on 36reviews by mainstream critics.[45] Audiences polled by CinemaScore gave the film an average grade of “B+” on an A+ to F scale.[46]

Entertainment Weekly awarded the film a “B+” rating, praising it as a “crazily funny and exciting tribute to the grimy glory days of 1970s exploitation films” that “will leave you laughing, gasping, thrilled at a movie that knows, at long last, how to put the bad back in badass.”[47] Peter Travers of Rolling Stone gave the film a positive review, commenting that “by stooping low without selling out, this babes-and-bullets tour de force gets you high on movies again.”[48] Critic James Berardinelli also enjoyed the film but was not as positive as other critics. Awarding the film three stars (out of four), Berardinelli found the film to be “cinema as an expression of pulp with attitude… [Rodriguez and Tarantino] are speaking from the hearts… but that doesn’t mean everyone sitting in the theater will get it.”[49]

The critics who did not like the film were not amused by the film’s graphic and comical violence, with Larry Ratliff of San Antonio Express-News noting that “this ambitious, scratched and weathered venture never manages a real death grip on the senses.”[50] Mick LaSalle of the San Francisco Chronicle awarded the film a high rating, but noted that “the Rodriguez segment is terrific; the Tarantino one long-winded and juvenile.”[51] Others considered Death Proof to be a deeper and more noteworthy segment. Critic A. O. Scott of The New York Times noted that “[a]t a certain point in Death Proof the scratches and bad splices disappear, and you find yourself watching not an arch, clever pastiche of old movies and movie theaters but an actual movie.”[52] Chicago Sun-Times critic Roger Ebert was divided. He gave Grindhouse as a whole two and a half stars out of four, awarding Planet Terror two stars and Death Proof three stars. Ebert also noted the irony of grindhouse films largely being superseded by many big-budget R-rated mainstream films that included a great deal of nudity and graphic violence.[53]

Critics generally enjoyed the fake trailers. Geoff Pevere of the Toronto Star wrote that the use of the trailers helps the film establish “its credibility as both mock-artifact and geeky fetish object even before the opening feature.”[54] Todd McCarthy of Variety claimed that the trailers were “excellent candidates for exploitation immortality.”[55] Jeff Vice of Deseret News, who gave the feature films negative reviews, called the trailers “… the strongest aspect of the entire presentation.”[56] Maitland McDonagh of TV Guide added, “With the exception of Werewolf Women, which tries a little too hard, they’re all spot-on pastiches.”[57]

The double feature appeared at number six on Jack Mathews and Owen Gleiberman’s respective top ten lists for New York Daily News and Entertainment Weekly, and at number seven on Stephanie Zacharek’s list for Salon. Marc Savlov listed Death Proof at number ten on his list for The Austin Chronicle.[58]

Outside the US and Canada, Planet Terror and Death Proof were released separately in extended versions, approximately two months apart.[59] The poster artwork for each film’s release in the Netherlands claimed that Death Proof would feature “coming attractions” from Rodriguez, while Planet Terror would feature “coming attractions” from Tarantino. While the separated version of Planet Terror includes the Machete trailer, none of the other fake trailers were included when the features were released individually.[60][61]

In reaction to the possibility of a split in a foreign release, Tarantino stated “Especially if they were dealing with non-English language countries, they don’t really have this tradition … not only do they not really know what a grind house is, they don’t even have the double feature tradition. So you are kind of trying to teach us something else.”[62] Many European fans saw the split as an attempt to increase profits by forcing audiences to pay twice for what was shown as a single film in the United States.[63]

In the United Kingdom, Death Proof was released on September 21, 2007.[64] The release of Planet Terror followed on November 9 with an eventual, theatrical, limited run of the entire Grindhouse feature the following year. Death Proof was screened in Europe in the extended version that was presented in competition at the Cannes film festival. The additional material includes scenes that were replaced in the American theatrical release version with a “missing reel” title card, such as the lap dance scene. A total of about 27 minutes were added for this version.[65] In Australia, the edited version of Death Proof was first screened on November 1, 2007 as a separate film. However, from January 17, 2008, Grindhouse had limited screenings.[66] In April 2008, Grindhouse was screened by Dendy Cinemas in one venue at a time across the country, through the use of a traveling 35mm reel.[67] In South America, Planet Terror was released in January 2010, while Death Proof was released in July 2010 at least in Brazil.[68]

Death Proof and Planet Terror were released separately on DVD in the United States. The trailers were omitted from Death Proof, with the exception of Machete which was from Planet Terror. Death Proof was released on September 18, 2007, with Planet Terror following on October 16, 2007. Both were two-disc special editions featuring extended versions of the films.[69][70] Robert Rodriguez stated in his 10-Minute Film School that a box set of the two films would be available soon, and that his 10-Minute Cook School would appear on it.[71] This release would also reportedly include Hobo with a Shotgun.[72] A six-DVD edition of the film was released on March 21, 2008 in Japan, featuring the films in both their individual extended versions and in the abridged double feature presentation along with previously-unreleased special features.[73]

Planet Terror and Death Proof were released individually on Blu-ray Disc on December 16, 2008 in North America. The Blu-ray edition of Planet Terror also contained a “scratch-free” version of the film that removed much of the damage effects,[74] while the Blu-ray edition of Death Proof only contained the “damaged” version of the film.[75] The theatrical version of Grindhouse was released on Region 2 DVD and the stand-alone version of Death Proof HD DVD was released in Germany on December 31, 2009.[76]

A two-disc Blu-ray “Special Edition” of Grindhouse was released on October 5, 2010 in the US by Vivendi Entertainment and has exclusive bonus features.[77] This release marks the first time that US viewers can view the full Grindhouse “Double Feature Presentation” experience at home as it was originally released in theaters. The first disc of the 2-disc set contains Death Proof and Planet Terror, along with the faux trailers, including the “trailer” for Machete. The theatrical cut was released on DVD in Canada from Alliance Atlantis. All of the extras from the previous individual DVD releases were included, however none of the extras from the Special Edition Blu-ray were included.

Bill Moseley stated at FanExpo on August 27, 2010 that the Blu-ray would also include a 5-minute version of Werewolf Women of the SS.

In 2010, Rodriguez wrote and co-directed a feature-length adaptation of his fake trailer, Machete. Many of the original actors from the trailer returned to their roles for it.[78] Machete screened September 1 at the Venice Film Festival and was released across cinemas in the US on September 3, 2010.

Machete turned out to be more of a success at the box office than Grindhouse, grossing $44 million internationally against a just-over $10 million budget.[citation needed] At the end of the film it is announced there will be two sequels, Machete Kills and Machete Kills Again. Soon afterward, Rodriguez confirmed that the financing for the sequels was in place, and that once everyone was free, they could begin shooting.

A trailer that played in some theaters in the United States and Canada, Hobo with a Shotgun, was also adapted into a feature. Rutger Hauer replaced Dave Brunt as the titular character, though Brunt makes a cameo as a corrupt cop.

These two adaptations received mainly positive reviews, with the general consensus being that they were cartoonishly enjoyable and gleefully violent homages to their reasons for being.[citation needed] Although Hobo with a Shotgun was not as big a box office success in the U.S. as it was in Canada, it has since gained a cult following there.[citation needed]

Many of the other fake trailer directors have expressed interest in making their trailers into real films, including Edgar Wright and Eli Roth.[citation needed]

Both Rodriguez and Tarantino have said that they are interested in making a sequel to Grindhouse.[79] Tarantino said that he wants to shoot an “old-school Kung Fu movie in Mandarin with subtitles in some countries, and release a shorter, dubbed cut in others” for his segment.[80] It has also been reported by Rotten Tomatoes that Edgar Wright may expand Don’t into a feature film.[81] According to Eli Roth, he and Wright have discussed the possibility of pairing Don’t with Thanksgiving for a Grindhouse sequel. Roth is quoted as saying “We’re talking to Dimension about it. I think they’re still trying to figure out Grindhouse 1 before we think about Grindhouse 2, but I’ve already been working on the outline for it and I would do it in a heartbeat.”[82]

Electra and Elise Avellan, Rodriguez’s nieces who play the Crazy Babysitter Twins in both films, originally stated their uncle wanted to do a sequel featuring both Machete and The Babysitter Twins, but the latter concept did not materialize with the former’s release.[83] “Robert mentioned something about the end of the world and Hollywood action films, where we’d be trained in Mexico to come back here and fight,” Electra Avellan told[84]

A third feature-length film based on the trailers, the Robert Rodriguez-directed Machete Kills, was released at the end of 2013.

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Grindhouse (film) – Wikipedia

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