Thursday, November 20, 2014

********Rebekah Kennedy Interview********

The New Scream Queen of Horror

Conducted by Anthony Servante

Introduction: 

The Servante of Darkness Blog welcomes Rebekah Kennedy to talk about movies and her career in the business of entertainment. I first saw Rebekah in "Season of the Witch" (2011) and have followed her horror movies, old and new, since. But there was more to our guest than scary movies. She has a background in Theatre and Television, and early in her career, she performed in musicals. But let's hear from our guest star herself. Darkness readers, allow me to present Rebekah Kennedy.

Biography: 

Rebekah Kennedy is a Los Angeles based actress with Texas roots. She is blessed with a youthful look, which has landed her roles that play much younger than she actually is.

Rebekah has had a passion for acting since the age of 12, when she pleaded with her mother to enroll her in acting classes. Almost immediately, she auditioned regularly and landed roles in several musicals and plays. Through her theatre experience she developed her talent and by her junior year of high school was accepted into the Booker T. Washington High School for the Performing and Visual Arts in Dallas Texas as a dance major. At the age of 17 she performed professionally in Casper: The Musical starring Chita Rivera.

Rebekah went on to earn a Bachelor of Arts degree in Musical Theatre from Palm Beach Atlantic University in West Palm Beach Florida. She continued to excel on stage in college, landing roles in several productions. Her talent was so impressive she was selected from a field of thousands of applicants to attend NYU’s prestigious Collaborative Arts Project 21 (AKA CAP21) in New York, whose alumni include Lady Gaga, Anne Hathaway and Kristen Bell among many others. Rebekah continued to perform in theatre productions throughout that experience.

In 2009, Rebekah turned her attention to TV/Film. She performed in many independent films and shorts. Then in 2011 Rebekah’s career launched to a whole new level. She booked roles on “Memphis Beat” starring Jason Lee, ”Ghost Breakers” TV series and “Season of the Witch” starring Nicolas Cage. Even deeper roles followed in “The Underneath” (playing the creature) starring Holt Boggs, “Creature” starring Mehcad Brooks and Serinda Swan, “I am Gabriel” starring Dean Cain and one of the female leads in “House Hunting” starring Marc Singer.

She just wrapped a pilot called "Street Level".

Links:

www.rebekahkennedy.com - Website

http://www.imdb.com/name/nm2796058/ IMDb

https://twitter.com/rebekahkennedy - Twitter

The Interview:

Anthony: When did you want to become an actress?
Rebekah: My mom took me to see my first play when I was 4, and after that I was hooked. It definitely sparked something inside of me I can’t really explain. Even being that young, I just knew I wanted to be on the stage acting.

Anthony: What did you do to make that happen?
Rebekah: Well, nothing at first haha. Since I was 4, my mom didn’t really take me seriously. But every once in a while, I would bring it up. And finally when I was 12 my mom put me in some local classes in Texas and I auditioned for my first musical. And then I just didn’t stop.

Click here to watch a

DEMO REEL of Rebekah Kennedy

Anthony: Can you tell us about your early days in the business?
Rebekah: In my early days, I was performing in musicals and plays all the way through junior high and high school, until I went off to college where I majored in Musical Theater. I really loved it and I was auditioning and performing anytime I could.

Anthony: Can you tell us about your transition from theatre to movies?
Rebekah: I had a little bit of interest in film and tv growing up, but I never really pursued it. Even after college, I had planned to continue theater and maybe even move to New York. I moved back to Texas after I graduated to get my bearings and figure out exactly what my next move was. All of a sudden, I started to think more and more about film and how I could pursue that. Shortly after, I signed with an agent in Louisiana (Landrum Arts LA) that took a chance on me. I slowly started to audition for small parts in movies and tv shows. In the meantime, I continued to audition and perform in plays. Also during that time, I also signed with an agent (Linda McAlister) in Texas as well. I tried to gain as much experience in the film world as I could. I continued to do theater all the way up until I booked the psychological thriller “House Hunting.” And then I decided I had to put theatre aside for a while. I now live in Los Angeles fighting the good fight haha. I do miss theatre and I hope to do another show when the right one comes along.

Anthony: You seem to mainly do Horror films. Is there a reason for this?
Rebekah: It wasn’t a conscious decision to start off with mostly horror films. Honestly, that’s what I booked at the beginning haha. I’m not complaining though, because the movies were a blast and it was a pleasure working on them. Plus, I got to work with some incredible actors and I learned so much working on those sets.

Anthony: Tell us about "Season of the Witch" (2011). Give us an insider tale or two.
Rebekah: Season of the Witch was incredible to work on. All of the actors, including Nicolas Cage and Ron Perlman, were extremely kind. And the crew just made it an easy and comfortable place to be. It was a wild ride though, because I auditioned on a Friday afternoon and the next day I found out I got the role, and they needed me in Shreveport for a fitting. So it was a bit of a whirlwind, and I didn’t really get a chance to take in what had happened. But it was well worth the craziness.

Anthony: Since you play characters younger than yourself, because you look younger to the camera, you are cast as teens, right? I’ve seen this with many actors (actresses) especially in Horror film (Molly Ephraim from Paranormal Activity 2 comes to mind); how has this been a boon and a hindrance to your career?
Rebekah: You are correct; I’m playing mostly teens. I haven’t played over 19 in a few years now haha. It’s often great, because most films and tv shows want over 18 or legal 18 to play younger. Sometimes it’s hard when they want true to age or sometimes there are roles I love, but I just don’t quite look old enough haha. But I know one day I will age, and those roles will more available to me. I don’t mind playing younger, because I started in the film world later in life, and I get to go back and play the roles I wouldn't have gotten a chance to play. And I’ve been fortunate enough to play teens with real depth and issues. And things they are trying to overcome. Those are the kinds of teen roles I’m attracted to.

Anthony: Can you tell us about some of the other Horror films you’ve been in?
Rebekah: Some other horror films I’ve been are, “House Hunting” – it’s a psychological thriller with Marc Singer and Art LaFleur. It’s about two families that go to an open house and then they can’t leave. I play 15-year-old Hanna, who is a mysterious girl. It’s available on Netflix and DVD. I’ve also been in a horror film called “Creature.” It’s a throwback to the old creature features and it’s a lot of fun. I play 14-year-old Caroline, who’s very innocent. That is also available on DVD and Netflix. And I just wrapped a horror film called “Bastard.” It’s about 5 strangers that become suspect and victim when a masked murderer makes its presence known in an isolated mountain town. I play 16-year-old Betty, who with her brother, runs away from home to find a better life. That will hopefully be out next year sometime.

Anthony: What are your favorite classic Horror films and which ones would you like to be cast in if they were remake? (The Exorcist, maybe?).
Rebekah: Some of my favorite horror movies are, The Sixth Sense, The Shinning, The Exorcist, The Silence of the Lambs, and The Conjuring to name a few. I would love to do a remake of the Exorcist haha. That would be a crazy fun part to play. Although, it would be hard to do justice with a remake. The first film was so brilliant.

Anthony: Tell us what’s on the horizon for you.
Rebekah: Well, my episode of the series “Match” will be airing December 11^th. It’s called ‘Tonight’ and you can find it on http://match.colaborator.com/season-1/. I play 16-year-old Emily who gets into an adult relationship she’s not quite ready for, and how it affects her. It's a different role for me and I'm both nervous and excited for people to see it. But I am looking forward to people's reactions to the pilot. I had a blast working with the amazing cast and crew. And it was a great challenging role and I'm thrilled I got to bring her to life. I also just wrapped a pilot called “Street Level” written and directed by Sons of Anarchy’s David Labrava. It also has Mark Boone Junior, Charisma Carpenter, Danny Trejo, Robert Patrick, Drea de Matteo…to name a few of the fabulous cast. It was an amazing collaborative effort, and I’m thrilled to be a part of it. I can’t wait to share more information on it.

Anthony: Could you give a few words of advice to young actors looking for their break?
Rebekah: If you’re not in an acting class, get in a class! Haha. Ask questions. Use your resources. But above all else, don’t give up. It’s an extremely tough business, but if you love it, keep trekking. Don’t let no stop you. Never back down. Dreams are way too important to be given up on.

********

Thank you, readers, for sharing this time with Rebekah Kennedy. Be sure to watch her movies and TV shows and say hello to her on Facebook. 

 

Monday, August 20, 2012

Roger Hodgson Interview

With Anthony Servante

Thanks to Harmonic Management,

Especially Linda Tyler and Linda Gianotti. 

Roger Hodgson Today

"Roger Hodgson is recognized as one of the most gifted composers, songwriters and lyricists of our time! As the legendary voice, writer and arranger of most of Supertramp’s greatest hits that led to more than 60 million record sales, he gave us amazingly enduring songs like: “Give a Little Bit,” “Dreamer,” “It's Raining Again”, “Take the Long Way Home”, “The Logical Song,” “Breakfast In America,” “Fool’s Overture” and so many others that have become the sound track of our lives. Hodgson co-founded the progressive rock band Supertramp in 1969 and was with them for 14 years. He wrote and sang most of the classic hits that brought Supertramp worldwide acclaim. Roger recently received 2 awards from ASCAP (American Society of Composers, Authors, and Publishers) for his songs being in the top played songs in their repertory, proving that they have indeed stood the test of time."

The Servante of Darkness Blog is proud to welcome Roger Hodgson during his 2012 Concert Tour by presenting the most popularly asked questions since his departing Supertramp for family and solo projects. As a fan of Hodgson’s solo work, I often find it disheartening to hear so much old Supertramp music on his tours of the past few years and not enough song-play from his personal works: Sleeping with the Enemy, In the Eye of the Storm, Hai Hai, Rites of Passage (featuring saxophonist John Helliwell), and Open the Door, a wealth of music enough for many solo concerts. But after hearing how Hodgson considers the majority of the hits from Supertramp, the band he co-founded, his own songs that he himself wrote long before joining Supertramp, it’s understandable how he feels their inclusion in his shows reflects his song-writing history from his early days as a musician to today. Still, there is a side of me that would love to hear an all Hodgson playlist from his four solo works, but that’s just me because every time I go to a Hodgson concert with my family and friends, they’re there for the older classics; however, it does my heart good that they can hear the recent classics as well.


For those of you who are interested in learning more about Roger Hodgson, here are some links to a wealth of information, music and chat. Enjoy!

www.RogerHodgson.com

Facebook.com/RogerHodgsonOfficial

YouTube.com/MrRogerHodgson


So, let’s get to the interview: Welcome Roger Hodgson to the Darkness.

Anthony: Please tell us what we can expect from your concerts.

Hodgson: I began my 2012 World Tour in Southern California. This year I am performing with an excellent band of four very versatile musicians

You will hear songs that I have written on my life journey – of course I’ll be performing all the songs people want to hear from my time with Supertramp. You can expect to hear The Logical Song, Give a Little Bit, Dreamer, School, Breakfast in America, Take the Long Way Home, It's Raining Again, Fool's Overture, etc., as well as some of my later material – In Jeopardy, Lovers in the Wind, Death and a Zoo,…and others. I don’t play Rick Davies’ songs – only the songs that I wrote and composed.

Anthony: I hear that you have a new album out.

Hodgson: For years, fans have been asking me to put out a CD of my live concerts because everyone tells me I'm singing better now than I did when I first recorded these songs with Supertramp 30 plus years ago. So, on our 2010 world tour we recorded a lot of shows and picked the most magical performances – from Norway, Brazil, Germany, Canada and put together “Classics Live.” The first 10 tracks are available digitally on my website, www.RogerHodgson.com and on iTunes and you can find physical CD’s at www.RogerHodgsonStore.com and at my concerts.

Anthony: I am interested in knowing how you started playing and composing music?

Hodgson: The guitar was my first instrument. My father used to play folk songs on an old acoustic guitar that he would never let me touch. When my parents divorced, it was his parting gift to me. I was 12 at the time and the moment I got it into my hands, my life changed forever. I took this guitar with me to boarding school in England where a teacher showed me three chords. After that, every spare moment, even between classes, I would go and practice. I started writing songs almost immediately and within a year, I actually put on my first concert at school of all original songs.

I started playing piano when I was 16. I was primarily self-taught and developed my own piano playing technique. I have always experimented with different sounds. My original demo for Dreamer, for instance, was recorded on a two-track. I was at my mother’s house and did not have any percussion so you can hear me banging boxes and lampshades on there.

At 17, I don't know why, but I was driven to find a pump organ or harmonium as they were called. It's like an organ that you play with your feet. Many churches used to have them before electricity arrived and organs went electric I found one covered in cobwebs in the backroom of this old lady’s house. I bought it for 26 pounds, took it home, cleaned it up and proceeded to write many songs on it – Breakfast in America, A Soapbox Opera, It’s Raining Again, Two of Us, even part of Fool’s Overture and The Logical Song. It has a very magical quality to it – it’s very easy for me to lose myself in the sound of it and go to that place where magic and inspiration happens. I still have it at my studio. The sound on the recording of Breakfast in America is this harmonium and a grand piano combined.

Anthony: How did you get started in the music business?

Hodgson: My first single was released under the made up band name Argosy. It consisted of two of my original songs - Side A was “Mr. Boyd” and the flip side was “Imagine.” I was 19 and pretty fresh out of school when a producer heard my songs and signed me. He put me in a studio in London, which was my first time in a recording studio, with some session musicians. One of them was a man called Reg Dwight, who later became known as Elton John. It was an incredible band - actually, most of the members of the band that he toured with later, Caleb Quaye on guitar and Nigel Olsson on drums, and they did an awesome version, obviously, of my songs and then I sang vocals on top. “Mr. Boyd” actually came very close to being a hit in England. It was played a lot on the radio but never actually charted.

Roger Hodgson Early Years

Anthony: Please share about your process of composing music and writing lyrics.

Hodgson:I do realize I have written some wonderful songs and have an ability for writing great melodies, but I think the reason these songs have stood the test of time so well is because they came from a very pure place and were not contrived. I never sat down to try and write a hit song. Music was where I went to be alone to express my deepest emotions, my deepest longing, my deepest pain and joy and questions. And I think that is why my songs have endured so well over time.

Anthony: Please reveal more of your Spiritual connection with your songs.

Hodgson: For me, music was where I went to express my longing to know God, to know true love, my longing to feel truly at home inside myself. I put this inner quest into my songs and I believe, because they came from such a deep place, this is one of the reasons they have such an enduring quality. They touch that place in everyone who is searching for true happiness, belonging, for God - whatever you want to call it.

So, yes, a lot of my songs have a spiritual theme to them – when I write music, I am always alone and it’s very much an inner communion for me. It’s not generally known that I never wrote with the band, and the other members of Supertramp didn’t share many of the spiritual beliefs that I wrote about – so all my songs – new and old - are all very personal expressions for me.

Anthony: Can you share about the part you played in making Supertramp a success and international phenomenon? What role did you play in arranging the music of Supertramp and producing Supertramp albums?

Hodgson: Supertramp was my dream and passion for 14 years. When people hear my songs they think of Supertramp because my songs were most of the hits that people love, and they are still played on the radio around the world today.

In many respects, I was the musical driving force of the band from the time Rick and I started it until we parted ways in 1983. I was responsible for much of the producing of the albums and tours. It was very important to me back then not to create just a hit single, which most bands were focused on. I wanted to create a whole listening experience where people were taken through a range of emotions -where at the end of the album they really felt like they had been taken on a journey and had a full course meal, if you like. I'd spend days and sometimes weeks choosing the right songs and the right order of songs so one song flowed into the next and the next. I did this for the concerts as well as the albums, and I still do this today.

Roger Hodgson awhile back 

Anthony: Tell us why you left the band.

Hodgson: When I left Supertramp in 1983, it was to follow my heart, which was telling me it was time to make home, family, and spiritual life my priority. I wanted to be with my children as they grew up. I’d given 14 years of my life to Supertramp and at that point I chose to have my primary focus be my family and not my career. I also pretty much left the music industry and took my family to a healthier place to raise my kids - up in the mountains of Northern California. I moved out of Los Angeles and built a home studio so I could continue to create music and although I made a few albums, I never toured behind them.

Anthony: It is great that you are back touring again, will you be playing Supertramp songs?

Hodgson: I don’t think of my songs as Supertramp songs- they’re my songs. In fact I wrote and composed a lot of them years before I recorded them with Supertramp. I wrote them when I was alone, not together with Rick or jamming with the band. A lot of people don't realize this because Rick and I shared the writers credit on all the songs we recorded together as Supertramp. But some of the biggest hits I recorded with Supertramp were songs I’d written in my late teens before I even met Rick and formed the band with him. Songs such as Dreamer, It’s Raining Again, Breakfast in America, Two of Us, A Soapbox Opera and even the beginning of Fool’s Overture, were all written during that time period. These songs are my babies – pieces of my heart and I still love playing them in my concerts today.

That having been said, I still get so many people telling me that when they come to my concerts they hear and feel the sound and spirit of Supertramp.

Anthony: I notice that you have a lot of young fans in your audiences.

Hodgson: Yes, I am finding everywhere I go that my songs are popular with multiple generations. Breakfast in America, Give a Little Bit and The Logical Song have recently returned to #1 in the charts again. Gym Class Heroes had a worldwide hit with my song, Breakfast in America, which took them from an unknown garage band to hitting the top of the charts. Before that, it was the Goo Goo Dolls with Give a Little Bit and Scooter with his techno version of The Logical Song. It’s amazing to me how my songs have stood the test of time

Anthony: What motivates you as an artist?

One of the things that I like most about making music is how it has brought people together from all over the globe and how many lasting friendships have been made through a common love of my songs. It is a very special and personal connection I have with many of my fans and that the fans have with one another. I feel it's because my songs came from my deepest longing and joy and pain and touch those same places in the hearts of the people who listen. At my concerts I’m now seeing three generations singing along with me and it’s wonderful to see more and more young people discovering my music.

Anthony: “Breakfast In America” is a great name for your tour and a great album. What are your fondest memories of recording that all time classic album? Did you have any idea it would be such a phenomenal global success?

Breakfast In America is a great collection of songs. My songs, Breakfast in America, The Logical Song, and Take the Long Way Home, all became hits, as well as Rick’s song, Goodbye Stranger. While we were making it, I felt it could be a big album and spent hours and days trying to come up with the right combination of songs that would all fit together to take you on the best musical journey.

I fought really hard to get it right even though the other guys and the record company were getting very impatient. I was in the studio seven days a week for so long that I ended up parking a motor home in the parking lot right outside of the studio and living in it, even though I had a home 40 minutes away. I was working 16 hours a day every day of the week trying to complete it. I knew we had something good and I could not rest until every song was just right. Talk about being married to your work - I was definitely married to this album, I slept with it, ate with it, and lived with this album until it was completed.

I composed the title track to the album, Breakfast in America, when I was in my teens just after leaving boarding school, before I met Rick and co-founded Supertramp. It was written on an old church pump organ, which my mother and I found in the back of someone’s garage in England. I bought it for 26 pounds. I did not have a girlfriend - I was a late bloomer when it came to girls. I was dreaming of going to America, going to California. Funnily enough, Rick didn't like the song and didn’t want it on the album and even wanted me to change the lyrics. I couldn’t, I liked it and the other guys all liked it, so we went with it the way I wrote it.

Anthony: I heard that you had an accident and broke both of your wrists.

Hodgson: The week my second solo album, Hai Hai, was released, I had a fall and shattered both of my wrists. I could not tour and support my new album, so it wasn’t that successful.

The doctors told me I would never play again. You can imagine how that would be being a musician all my life. At first I was devastated and then I decided not to accept their prognosis. I started working on myself through Spiritual practices and prayer as well as physical therapy, strong will and determination. Now I’m back playing as good as ever. I hope I can be an inspiration for anyone that has been told that they are not going to be able to do something again. When you put your mind to it anything is possible.

***

Top Ten List of Roger Hodgson Songs:

1. The Logical Song

2. Give a Little Bit

3. Dreamer

4. School

5. Breakfast in America

6. Take the Long Way Home

7. It's Raining Again

8. Fool's Overture

9. In Jeopardy

10. Lovers in the Wind

Thank you Roger Hodgson for gracing the Darkness with your presence. Continued success on your current tour and join us again soon. Ladies and Gentlemen, Roger Hodgson!   

***

Anthony Servante has just released his new novel, EAST LOS. Set in 1970 East Los Angeles, a serial killer known to police as the Azlan Assassin is killing young boys dressed like gang members. A drunkard sobers up to look for the killer with the help of a Sheriff's Deputy. As the community deals with student protests and walkouts, a rally that will draw thousands of people approaches. County deputies join with city police to try to stop a potential riot. As the drunk detective closes in on the killer, the memory of the events that drove him to drink begin to surface. Social turmoil, murder, gang violence, racism, and demons in a bottle are set to collide. Read EAST LOS by your host, the Servante of Darkness, now available at:

http://www.amazon.com/East-Los-ebook/dp/B00B2ZYP8A/ref=sr_1_2?ie=UTF8&qid=1358846743&sr=8-2&keywords=anthony+servante

 

Funereal Plots

Horror Cinema reviews

Matthew M. Bartlett

The Ugly Stepsister

Writer/ Director: Emilie Blichfeldt

In this blood-soaked and grotesque retelling of Cinderella, Elvira (Lea Myren) longs for Prince Julian (Isac Calmroth), a handsome but vacuous poet. She and her sister Alma’s mother Rebekka is set to marry Otto, a widower with a daughter named Agnes. This, Rebekka, thinks, will solve their money problems. But she’s in for a surprise when, after the wedding, Otto dies suddenly and is found to be broke.

So, she surmises, she will endeavor to marry one of her daughters to Prince Julian. But Elvira is ugly (one must, as this point, bring to bear one’s ability to deny what one sees on film, to suspend one’s disbelief). So, in order to make her suitable to win the Prince’s affections, and compete against Agnes, who is conventionally beautiful, a cosmetic surgeon is brought in. He violently breaks her nose and fits it with an ungainly apparatus to hold it in place. Elvira is also made to eat a tapeworm egg in order to lose weight (again, here, we must suspend our disbelief). Worse than all that, she’s sent to finishing school.

One night Elvira sees Agnes consorting with a lowly stable boy and reports the incident to her mother. The stable boy is sent away and Agnes is relegated to a servant’s role and is addressed, cruelly, as “Cinderella.” Throughout the movie, we occasionally see Otto, who lies dead, still in the house, rotting away, ridden with maggots and, one imagines, reeking to high heaven. Meanwhile, the attempts to beautify Elvira begin to fail, as malnourishment causes her hair to fall out and, at the ball where she hopes to be matched to Julian, she flees and vomits up tapeworm eggs. And Julian sees the masked Agnes and is intrigued by her, but she too flees, leaving behind a shoe.

When she discovers that Julian will come seeking the wearer of the shoe, Elvira, with some difficulty, hacks off her toes to try to make the shoe fit. She then breaks her nose and finally expels from her body, with violent, goopy force, a hideous, seemingly endless glut of segmented tapeworms. Her disintegration is complete, and she and her sister Alma run for the hills as Agnes and the Prince connect.

The Ugly Stepsister is effectively both lushly lavish and grotesque, gorgeous to look at while at times necessary to look away from. At one point, when I paused it, I burst out laughing. For after all the violence, the frontal nudity of both sexes, the gore and grotesquerie, on the screen it warned viewers of 18+ to use caution while viewing, due only to “flashing lights.”

 

The Long Drive

Coconut peach ice cream

for my little girl

who was never born

and regards from mommy

in her happy place

Death drives a pink Corvair 63

and the clouds were blue that day

and the wind blew itself away

Daddy buys you ice cream

between each scream

yet you never were

anywhere but in this poem

sometimes if you pray for the apocalypse

your prayers are answered

coconut peach ice cream

for my little girl

there is no such flavor

Life drives a hearse

and the clouds are black today

and the wind blew your name away...

 

Horror Cinema Countdown:

Ten Haunting Images I'll Take to My Grave

Introduction:

As an impressionable young lad, I often sat in the dark movie theater without thought to what film I was about to see. Every Saturday I'd simply buy my ticket and watch whatever two movies were playing that afternoon. In most cases, they were what we used to call "scary" movies. Who knows when "horror movies" took hold?! Often I'd glance at the movie posters by the ticket booth where a pretty young girl reading a book waited for the next customer. I'm sure they only hired girls who didn't suffer from claustrophobia, because those booths were snug. Anyway.... To a child the movies were always entertaining, no matter the subject matter. But there were those films that just had that insane image that captured the whole feel of the movie. And that is the image I'd like to share with you. Although there were many non-horror movies that had such an image (the "kiss" in The Sergeant 1968, starring Rod Steiger and John Phillip Law), I'm only sharing images from "scary" movies today. I have reduced my list from 17 to 10 images for convenience. Let's begin the countdown. 

10. Carnival of Souls (1962)

The specter at the window.

Poor Mary (Candace Hillgross) seems to have survived a traffic accident, but everywhere she goes, this pasty-faced man follows her, even as she's driving the highway. It was when this ghoulish figure appeared outside the passenger's side of the car that I was totally creeped out. How is he keeping up with a speeding car?1 His later appearances only served to remind us of his spectral nature and the fragile state of mind of our poor Mary. 

9. Black Sunday (1960)

Asa (Barbara Steele) is punished for being a witch.

Tame by today's standard in horror fare, a spiked mask hammered into a woman's face was shocking at the time for this lad. I remember some girls in the audience screaming, adding to the feeling of repulsion I felt. Later when Asa reappears with holes in her face only added to my horror. This was the film that started my appreciation for actress Barbara Steele.  

8. Dead of Night (1945)

Sally (Sally Ann Howe) recounts a Christmas ghost story. 

The film Dead of Night is a British anthology of ghost stories and psychological suspense tales. They are all good, but the story of Hide 'n Seek, where the children seek hiding places throughout the vast mansion is my favorite. I saw this one on late night TV one Halloween night. I've always had a love for black and white cinema, no matter the genre. In the tale, Sally finds a room within a room, where a child weeps in fear. She puts the child to bed and returns to the game of hide and seek. She tells her friend about the child she found, and her friend is surprised to hear her speak of the child. Believing she is joking, he tells her about the brother murdered by his sister in that very room. Poor Sally upon hearing the tale, repeats over and over, "I'm not afraid, I'm not afraid," to hide the fear welling in her that she had just met a ghost. 

7. Village of the Damned (1960)

The children first display their powers to destroy.

As a kid at the movies watching Village of the Damned, there is only mystery. Why did every person and animal fall asleep at the same time. Why did the police surround the village? How did all these women get pregnant at the same time? While I was waiting for a flying saucer to land and explain everything, these children born from that mysterious event begin to show powers. At first they act alone, but when they work together in this scene to display their destructive nature, I was creeped out by their eyes. Some couples in the theater left during this scene, which made me want to stay all the more to watch this to its conclusion. 

6. The Fly (1958)

"Help me!"

The Fly, the original 50s version, was a tale of teleportation. More science fiction than horror. Until that fly's molecules get mixed up with the human's molecules, each creature part man, part insect. I could not understand how putting these two mixed up creatures back in the transporter would make them normal again. Wouldn't it make it worse?! Anyway, there's not much I can say about this iconic scene. Any kid who sat through this movie was traumatized for life. But in a good way. 

5. Caltiki-The Immortal Monster (1959)

The dissolving face scene.

Caltiki  was not just another Blob movie. The Blob came down in a meteor, while Caltiki was born from the radiation of a passing comet. See the difference. And beside, this monster was fed human flesh in Mayan sacrifices to the Goddess, Caltiki. How the monster became known as Caltiki is never explained. Nevertheless, the gore for this movie are some of the most memorable. Originally I wanted to find the scene where a piece of the creature is removed from a man's arm, revealing a few chunks of flesh still attached to the bones of his arm. Great scene. In this scene above, the same man is completely eaten, and we are shown the slow-motion dissolving of the flesh of his skull. Not as good as the arm scene, but still effective for this kid's imagination. 

4. It! The Terror Beyond Space (1958)

It reaches the top level.

Not exactly a horror film, but a 50s science fiction creature feature. It!, the title monster, stowaways about an Earthbound rocket ship shaped like a cigar with fins. The ship is sectioned by floors leading up to the tip of the rocket where the control room sits. Of course, the monster works his way up, till what is left of the crew must do battle with the creature on the last tippy-top floor. I must point out that I saw this with my aunts at the drive-in, so the environment was already surreal as I was used to dark movie theaters, not wide-open parking lots. But when that monster reached the final level to confront our survivors, I was scared into the front seat with my aunt not only for comfort but for a closer look at the monster. I found these two shots of that scene. They're both a bit grainy, but in my mind, that was a monster, not a man in a monster suit. 

3. Diary of a Madman (1963) The Horla

Vincent Price discovers what happens when the Horla possesses him.

I was obsessed with this movie. I saw it three times over the weekend. Many people are confused with the title, Diary of a Madman. Very misleading. The Horla would have been a better title, even with a kicker like, The Immortal Monster. Or something. There are no madmen. There is this creature that drives men to kill and mutilate women. The story is divided between the monster and the possessed men it controls. The exchanges with monster and man are scary, until our hero, Mr. Price, playing a judge who convicts an innocent man who was previously possessed by the Horla, must find a way to kill the creature that now is possessing him. The final battle is epic. But the haunting scene that turned the tide for me as a ten year old kid watching this horror classic, was when the judge finds his model's head inside the clay sculpture he himself made while under the Horla's spell. Still gives me the willies.  

2. House on Haunted Hill (1959)/

She steps into the dark closet, and a ghost floats by. 

House on Haunted Hill, another Vincent Price movie, promises scares and ghosts and murder. I mean, Elisha Cook Jr., wove a wicked history of the house that foreshadowed creeps that never came to be. Well, we do get murder. Still, until that cop-out ending, we did have one scare that made this kid jump. The old woman with the frozen scream on her face gliding by without touching the ground was a shocker. Too bad that was the set-up to the biggest fake-out, in this kid's humble opinion. The adult me still likes to watch this for Halloween with the grandkids. 

1. Black Sabbath (1963)

Don't steal from the dead.

Black Sabbath was an Italian horror anthology. Each story has its merits, and depending on whether you watched the American or Italian version, The version I saw had "The Drop of Water" last; in the TV version, "The Wurdulak" was the final episode. I prefer the theatrical order because that's where the horrific scene that I write about today can be found. A nurse is brought in to prepare the corpse of an elderly woman for burial. She takes a ring from the old woman's hand, admires the trinket, and when she looks back at the corpse, her eyes are open and her lips are snarled around a grinding grin. In the theater, the audience jumped at this scene. Me included. Every time the camera panned to the old woman, we gasped. The suspense was tangible. We didn't need to see any horrific actions. It was enough to see this corpse just popping here and there with that face looking right at the audience. Yep, this is my number one haunting image in horror movies to this day.