Never Fear, Smith Is Here

When writing screenplays, I often assign an actor's voice to a character to help me write his or her dialogue. In the script I've recently been commissioned to write, I'm using Jonathan Harris to help bring a certain character's words to light. Having his voice in my head brings back fond memories of not only Dr. Zachary Smith, the conniving gadfly he portrayed on LOST IN SPACE, but of Jonathan himself. I appeared at many conventions with Jonathan, and I still miss his sly, curmudgeonly grin and sweet/sour disposition. Seeing him drinking his tea in the morning, before the floodgates of autograph hungry fans were opened to descend upon him, always made me smile.

Thanks for everything, Jonathan Harris (1914-2002)

New Western Horror From Larry Blamire

Exciting news from my friend and director Larry Blamire - a collection of western-themed horror stories. Besides being a terrific filmmaker and talented artist, Larry is a masterful talespinner, and here is an opportunity for you to read for yourself. Here's what Larry says:

"TALES OF THE CALLAMO MOUNTAINS gathers all my western horror stories and slams them into one handy trade size paperback, with a cover by me (how convenient). These tales are lousy with atmosphere, creepiness and suspense and stuff, with a hearty helping of the twisted and bizarre. Pretty traditional in a way--low on gore and violence..."

I highly recommend this book to all of my own friends and fans. You can order it here:


http://www.lulu.com/content/3875805

Frank with horror authors (and best pals) David J. Schow and Larry Blamire.

THE LOST SKELETON PREMIERES!

This past weekend, Bantam Street presented the world premiere of THE LOST SKELETON RETURNS AGAIN! at the Mill Valley Film Festival, just outside of San Francisco, California. The movie was received with great enthusiasm and loads of laughter. We are all happy and proud of our film and it's creator, writer-director-star Larry Blamire. Following the screening, a Q&A was held with most of the cast and several of the crew. It was a magical night.



Producers Mike Schlesinger and Sara Van Der Voort, Bob DeVeau, cinematographer A.J. Rickert-Epstein, Trish Geiger, Brian Howe, Larry Blamire, Fay Masterson, Frank Dietz and Andy Parks. The 3 in the front: Susan McConnell (head turned), Dan Conroy and Jennifer Blaire.

Linda Miller, R.I.P.

Linda Miller passed away yesterday at the young age of 48. Linda was an active member of the Universal Monster Army and the Lugosiphile Group. Her death was unexpected, leaving all of us shocked and depply saddened.

The artwork she created, based on the classic Universal horror films, was stunning and unique. Her medium of choice was primarily watercolor, though you wouldn't immediately recognize it as such. She never felt the need to incorporate color, and her paintings fully captured the atmosphere of the vintage films she paid tribute to.

Linda was humble regarding her own talent, yet generous in her praise of others. A real class act. Rest In Peace, Dear Linda...

Not JUST Monsters...

Believe it or not, occasionally I paint something that is NOT a monster or an actor who played a monster! Below are two examples of what's known as "Fine Art."

This is a simple still life done in oils. The challenge here was creating the illusion of the bottle being clear glass.

This was a Monet duplication. The idea is not to "copy" what you see, but to "imagine" what is was the artist was looking at when he painted it. There's a lot to be learned from the Great Masters...and the Great Monsters!

The Terror Of The Tones

In oil painting, getting your tones locked in early, and then maintaining them as you proceed is a good idea. It keeps you from getting lost, and gives you an better idea of what your final painting will eventually look like.

Here's a look at the initial tones puts down for my painting of the incredibly sexy Andree Melly from THE BRIDES OF DRACULA.

And the final painting, with the oil paint loaded up nice and thick, but the tones still holding.

Love that Andree...

Count Charcoalula

Charcoal can be a tricky medium. It takes practice to master the gentle touch required to create delicate middle tones. These are the tones that create the most depth, which is what you want if your piece is going to have the illusion of three dimensions. The lightest and darkest tones create the "punch" - the eye-catching drama - but without those vital variations of middle tone, the piece can end up looking flat.

This charcoal sketch of Bela Lugosi as Count Dracula from ABBOTT & COSTELLO MEET FRANKENSTEIN (my favorite Lugosi performance) has strong lights and darks, but it is those middle values that really give it life.

"I have other ways of securing your cooperation...Look into my eyes..."