Some exciting developments

Hello all,

First off, thanks to everyone who read, enjoyed and posted comments on my Paul Morrissey interview. The first bit of exciting news is that this interview was re-printed in Bright Lights Film Journal last month. Paul Morrissey himself found my blog and asked if there was a newspaper version of it that he could buy, so either he forgot he was angry at me, or I won him over printing his angry rant verbatim. Thanks to Gary Comenas at WarholStars for linking to the interview. I am currently en route to Rochester and Pittsburgh to watch, respectively, some rare early short films of Morrissey at the George Eastman House and the Warhol/Morrissey collaboration “L’Amour” at the Warhol Museum. After that, I will attempt to interview Holly Woodlawn, Martin Kove and Taylor Mead for their thoughts on Morrissey, and then post a summary of his harder to find films.

Secondly, the aforementioned article about the debate on who created Barnabas, on the original “Dark Shadows” series, was finally published on Movieline.com. Most experts agree that writer Malcolm Marmorstein originally dreamed him up. Since Marmorstein later worked with Elliott Gould on three ill-received pictures, I got his thoughts on those experiences, which will soon go into the agonizingly delayed post on Gould (a full year after I started that project, I’ve still got seven or so not-on-Netflix Gould films to plow through, but some of them were shot abroad and aren’t available with subtitles, so I will soon shake off the OCD and just write the damn thing).

I apologize for not submitting too often in the past few months. Freelance articles aside, it’s hard to plan a wedding, hard to work a full time job, hard to keep my apartment clean, while doing this! But my resolution for 2013 is to post at least one entry a week, so stay tuned!

Still to come: interviews with/career synopses of Rick King (“Hard Choices,” “Off the Wall”); Jan Egleson (the late 70s, Boston-set slice-of-life crime picture “Billy of the Lowlands” and its 1981 follow-up, “The Dark End of the Street,” both excellent); and, of course, the Cannon Pictures mogul Menahem Golan.

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