Mar 262013
 
Interception City, Published by Black Mask, March 15, 2013

Interception City, Published by Black Mask, March 15, 2013

The best thing any crime writer can do to make his protagonist more sympathetic and far stronger is to provide a worthy (think: very strong, horribly bad or genuinely psychotic) antagonist in the mix.

Endlessly taught in most of the creative writing classes I’ve had, the villain provides the steel spine to any good thriller or action piece. You can make the protagonist as pure or as interesting or even as damaged as you like, but his adversary in evil better be virtually unstoppable.

And evil in ways most of us would rather not even imagine. But as crime or thriller writers, we must. Ask Stephen King.

Anyway, looking back quite a few years, the most obvious example of this to me is the first Dirty Harry movie, called (unsurprisingly) Dirty Harry.

In it, a young Clint Eastwood is excellent as rogue cop Harry Callahan, a legalized killer with a .44 Magnum, but his stature was greatly elevated (as far as the audience was concerned) when he came up against the shockingly savage villainy of the psychotic Scorpio Killer, played with manic intensity by Andy Robinson.

Andy Robinson did such a great job, in fact, playing a murderous and almost-unstoppable lunatic, that it was said producers and casting directors in Hollywood wouldn’t meet with him for a long time afterward, fearing he was too much in real life like the part he’d so brilliantly played.

And when he was blasted away by Dirty Harry’s .44 Magnum in the last act, it was a feeling, I’ll admit, of great satisfaction. The Scorpio Killer finally, after getting away with so damn much, paid for his horrifying sins with his life.

Justice. Or just a need on the audience’s part for a form of simple revenge. For being such a terrible person. Seriously.

The bad guy’s antics are, after all, much of the reason (unsavory or not) that we continue to watch, or to turn the page, waiting for that final moment when the villain’s either blasted into oblivion or, at the very least, arrested and hauled away.

In other words, something inside of each of us can’t stand to see the son of a bitch get away with it.

Ten years later, another of the great bad guys, also played with brilliant savagery, was James Remar as Albert Ganz,  the psychopath of 48 Hours (the violent but hilarious feature film debut of Eddie Murphy, not the TV news show).

Ganz killed as easily as he breathed, and went off like a Chinese firecracker at the slightest provocation, again providing all of us in the audience with a great sense of relief when Nick Nolte eventually shot him multiple times.

Which brings us, in my opinion, to one of the greatest feat(s) of film villainy in many a year, performed by the superb actor Alan Rickman.

Within four years, Rickman managed to play three of the coldest, yet wittiest, villains the screen has ever seen, thus adding that steel spine to three great thrillers.

In the original Die Hard, 1988, as Hans Gruber, he was the brilliant but murderous killer who masterminded the almost-murder of an entire office building full of people, thus giving Bruce Willis a chance to be exactly what a real hero should be.

In Quigley Down Under, 1990, as Elliot Marston, he was the evil Australian ranch owner who was systematically committing genocide against the aborigines until American gunman Tom Selleck shot him down, along with his two evil cohorts, in Marston’s own front yard.

And last, but not least, in Robin Hood: Prince of Thieves, 1991, Rickman was the mercilessly evil but wisecracking Sheriff of Nottingham, a part played to the hilt by a truly gifted actor, until Kevin Costner ran him through. And through again, I think.

It’s been a while.

In any case, none of the movies above would’ve been as thrilling, or would’ve played out or ended as strongly, had it not been for the superb villains that each provided.

Which reminds me.

When it comes to superb villains, I have to mention the greatest recent villain to calmly (and sometimes humorously) murder his way across a huge expanse of silver screen:

Javier Bardem as the epitome of heartless and pure evil, Anton Chigurh, in the Coen Brothers’ masterpiece, No Country For Old Men, 2007.

A terrifyingly realistic but somehow subdued performance in every way, Javier Bardem’s bad guy even terrified all the other bad guys in the film. And rightly so. And at the same time gave the film such brilliant forward momentum that it rocketed through to the shocking end.

And if you haven’t seen it yet: shocking is the right word.

In any case, my newest crime thriller, Interception City, written under my pseudonym Parker T. Mattson, is now out in paperback, published by the great folks at Black Mask, and will soon be available as an e-Book as well.

And, yes, I’ve tried to make the bad guys very, very bad, heartless and genuinely evil, even hatefully so, just in case some bad things finally happen to them in the final chapters.

Which would be justice, believe me. And will probably happen, but I’m giving away nothing here. It’s a thriller, after all, and I might’ve (or might not have) broken some rules.

Here’s the link on Amazon, in case you’re interested: http://www.amazon.com/Interception-City-Parker-T-Mattson/dp/1608726894/ref=sr_1_1?s=books&ie=UTF8&qid=1364324620&sr=1-1&keywords=Interception+City

If you read it, let me know what you think.

 

 

 

Dec 032012
 

In my latest crime novel, Interception City, written as Parker T. Mattson and to be published by Black Mask in early 2013, I’ve taken several disturbing real life elements and incorporated them into a story of murder, mayhem and illicit sex set in a tiny isolated community in the deep southern Florida Everglades.

In my last crime novel, Killing Liberty, published by Black Mask in 2012, I took several disturbing real life elements and incorporated those into a tale of murder, mayhem and illicit sex set in a tiny isolated community in deep southern Alabama.

My next crime novel, Killing Time, to be published by Black Mask later next year, will be a disturbing tale of murder, mayhem and illicit sex set in the tiny tropical island community of Key West, southernmost point in the continental United States.

It will again feature ex-Detroit homicide detective Derek Raiford.

Sounds familiar, I guess.

Anyway, as a consultant to over a hundred of the Fortune 500 companies in an earlier lifetime, I travelled the entire country for years, overseeing projects that often required me to stay in a variety of communities both large and small.

Sometimes for weeks or months at a time.

I can also say that I’ve either lived or at least spent time in every major city throughout the United States and made it a point to set foot in every state, except Alaska (too damn cold; sorry, folks).

As a representative of my client companies, I had to interact with all levels of people.

This included executive, management, professional, medical, technical, clerical and hourly individuals. I also dealt with countless political types, many of them ‘behind the scenes’ power brokers in each community, as well as the actual mayors, city managers, business leaders and even local law enforcement members.

The advantage of this to a writer, of course, was that I met a great many characters in a great many locations, characters that I’ve used as the foundation for many of the people, both good and horribly bad, I put into my crime fiction.

I’ve been very careful, so far, to not mention any of the actual locations in my books, or use any names even close to the real ones, because there’s far more truth in each than it’d be wise to admit.

As my protagonist, Jim Starke, says in Interception City, “The truth may or may not set you free, but it can definitely get you killed.”

And in that particular crime thriller coming up, I combined a small hotbed city of the 1980’s (located in the ‘near-South’ portion of a Midwest state) with another backwards little community I’m familiar with deep in the Florida Everglades.

Both of which I updated to become Interception City.

My mayor in Interception City is an 78-year-old ex-bootlegger married to a 19-year-old high school drop-out. The actual mayor that character’s based on was a particularly amiable 78-year-old gentleman who told me it rained the entire week of their honeymoon in Barbados and that she nearly killed him.

I had dinner at their comfortable home several times a month and she always asked if I’d like some ‘tongue’ with a weird little look, while holding out a silver tray of the stuff as an appetizer.

I still haven’t tried it, all these years later. I’ll stick with regular roast beef, from whatever other part of the cow that comes from.

Another young woman I met on that same assignment was the daughter of the wealthiest man in town.

He owned a large manufacturing plant, the local dollar store and two gas stations. In his late-50’s, he was married to a flighty 17-year-old girl who stuck her hand down the back of my jeans at a family picnic I was invited to down by the river.

I’m certain it was an accident. I think she was reaching for the fried chicken and I somehow got in the way.

Sorry.

Regarding the young woman I’d met, both her father and her sweaty 300-pound brother were openly serious members of the Ku Klux Klan. As was the local police chief and a large portion of the small police force.

They’d recently posted a sign at the city limits advising black people to ‘…not let the sun set on their black asses in their fine upstanding town.’ The state police ordered them to take down the sign.

In the early-1980’s!

This was not Little Rock, not Mississippi and not the 1950’s. Amazing.

Every now and then, the young woman (daughter & sister of these diehard KKK-folks) secretly drove 90 miles to the nearest large city to date a variety of black men. She’d been doing it for years.

And it turned out I was the only person she could tell, an outsider, knowing I considered her secret both perfect and ironic.

And, of course, highly dangerous. I couldn’t make up this stuff.

One of the B.Y.O.B. bars just outside of town had an actual dirt floor. Their illegal after-hours wet-T-shirt contests and group-gropes always made a muddy mess. Yet even the local cops attended.

It was very much a town of extremely bored and restless young women. The police chief, far more friendly and decent-seeming than he apparently was (the racist bastard), once told me all the local women were hot-assed.

And he showed me several explicit Polaroid photos to prove it. He let me know he had an extensive personal video collection as well, but I never got to see it.

Anyway, the stories and the characters go on and on.

Enough to write about well into my old, older and even oldest age. I didn’t think much of my corporate consulting career while I was living it, but I now see it was the basis for much of what I’ll (hopefully) spend years writing about.

In any case, I believe I’ve combined truth and crime fiction in a way that won’t get me or Black Mask into any serious trouble.

But if you recognize yourself or your friends or even your community in one of my crime thrillers (as several of my Facebook cohorts very much will), I’m just kidding.

Published by Black Mask and available as
an e-book everywhere and in paperback.
Nov 042012
 

Because there must be a World’s Tallest Midget and a World’s Shortest Giant, there must also be a Stupidest Member of Mensa.

My wife Ellen says it’s me.  And it’s hard to argue.

First off, I barely graduated from Cherry Hill High on the westside of Detroit, with a 1.1 average: that’s a D+, by the way, folks. I preferred reading Mickey Spillane and SciFi paperbacks hidden behind my schoolbooks while everyone else was learning something.

Yet I did graduate. I think they just wanted me out of there.

Second off, in those long-ago days when we all received a yellow map pin from Mensa to wear as a form of covert identification, I lost three in a row. If you remember (or ever knew), those little yellow map pins were handed out so that secret geniuses could recognize each other on the playground while getting the hell beat out of them by the tough kids.

Add the sad fact that my middle name was Wellington and you’ll understand why I had to pick the roughest, toughest bullies in school to be my friends (“Judo, can you lean on the gym teacher for me? He wants me to participate!”)

Of course, my nickname back then, further indicating clear intelligence, ended up being Carp.

This name was bestowed on me by a good friend, a criminal mastermind actually, who I’ll call Dave (because that’s his name), who I believe is currently serving about a hundred years for crimes he committed when barely out of high school.

And I mean out of high school, since he was expelled the moment the shop teacher and the police paid a surprise visit to Dave’s home and discovered more of the school’s tools and equipment in his basement than were left at the actual school.

Seriously, about $10,000 worth. Of course, at least Dave was using all those tools for a good cause: to make money.

Literally.

In those long ago days, it was possible to get a regular-sized candy bar out of a machine for the miracle sum of 5 cents, a nickel. And, because those simplistic machines would also give out a nickel in change for a dime inserted, it was an easy matter for any criminal mastermind to C-clamp ten or so pennies to a work bench to grind down into fake-dimes.

Which worked just fine in the candy machines.  And gave back a nickel.

Because Dave and I were decent guys (except for his criminal mastermind status), we talked about giving all the free candy bars to less fortunate kids. It was a nice gesture, but in the end we just ate all the candy bars ourselves.

Even today, I have a slightly guilty feeling whenever I eat a Snickers bar.

Also, there were so many imprints of pennies lining the edge of the workbench returned to the school, it caused a bit of concern. And confusion. Yet no one ever figured out why.

I guess no one else in the school system at that time belonged to Mensa.

In any case, I use a lot of my long-ago weirdness and adventures in my fiction, giving it a certain edge (I’d like to think) that normal people couldn’t possibly come up with. With my youthful background, I don’t have to make up very much.

I just call it fiction and hope the statute of limitations has run out.  And I guess I should check out that statute of limitations thing on whatever I write, but I haven’t figured out how to do it yet.

I suppose my wife (who often calls me Mensa-Boy, but never in a nice way) could be right.

Anyway, if you get a chance, check out my latest book, Killing Liberty, filled with more off-beat truth than Black Mask (the Publisher) would like me to admit.

Here’s one of the links:    http://www.amazon.com/Killing-Liberty-Parker-T-Mattson/dp/160872607X/ref=sr_1_1?s=books&ie=UTF8&qid=1352040830&sr=1-1&keywords=killing+liberty

 

 

Sep 262012
 

 

What a choice. But a valid one.

In 2011, approximately 350 studio and independent films were produced and distributed from original screenplays in the United States, although well over 50,000 new screenplays were registered with the Writers Guild that year.

Some claim the number’s closer to 100,000, but the Guild isn’t saying.

And that same number of new scripts (50,000 to 100,000!) were registered every year before that. And will continue being registered, every year, year after year, after that.  Quite a pile.

Making for some pretty long odds.

In the book world, over 300,000 books were published in the U.S. in 2011, although a few sites are quoting a much higher number. In any case, the odds of getting a book published far exceed the likelihood of having a film company put up $30 million or so to produce even a low-to-mid-budget version of a writer’s first screenplay.

That said, and having only a few scripts produced (Darkroom, a piece of crap horror film, was my first written, in Syd Field’s screenwriting class), and a few other scripts optioned, I’ve discovered it’s far more fun (and profitable) to write a novel and have it published within a matter of months.

Compared to spending years waiting for an optioned screenplay to get produced. Even those screenplays optioned by well-meaning, well-connected and otherwise successful movie producers.

Supposedly, the average time span from writing a screenplay to seeing it on the big screen for an already-produced screenwriter is eight (8!) years.

In other words, that new BMW you bought with your option money will be over by the time the picture gets made, far too weird/clunky to park anywhere near the premiere where anyone can see you crawling out of it.

The Writer! It’s Him! Holy crap, look at that piece of shit he’s driving! What a loser! Did his mom buy him that thing when he was still in school or what?!

Yes, in Hollywood, believe it or not, like it or not, hate it or not, what you drive is who you are. Absolutely true. So scrape together your last few dollars to rent a new Bentley for the damn night. That is, if you even get invited to your own movie premiere. For reference on how nicely screenwriters are treated, see Robert Altman’s The Player.

In any case, another choice emerges: convert your movie scripts into novels.

If your book version does get published, you’ll already have the screenplay ready to go (even though they’ll pay you to get lost and will instead hire the hot young writer who already has a three-picture studio deal).

Anyway, after my first crime novel, Killing Liberty, was published by the great people at Black Mask, and before I finish Killing Time, the second book in the five-book Derek Raiford series Black Mask asked for, I’ve decided to quickly turn my favorite unproduced screenplay, Interception City, into a crime novel. Also to be written as Parker T. Mattson.

How hard could it be?

Admittedly, it’s been a frustrating adventure trying to get it made. As a racially-charged murder & mayhem thriller taking place in a terrible little shithole city buried deep in the Florida Everglades, it’s been called too much of a hot potato by more than one Hollywood movie producer.

One dashing young movie producer’s father, an older Academy Award-winning screenwriter living abroad, read the script and called it great fun, suggesting his son option it. Nothing much happened but it was very exciting for several long months.

Next.

A successful director I know read Interception City on a cross-country flight and told me the premise was far too dark, even with the snappy and fun dialogue I’d provided, to interest him. Six months later he called to say he did want to direct it, after a second read, but thought financing would be difficult.

I’ll say.

For those of you older folks, think In The Heat Of The Night meets any thriller taking place in a terrible little shithole city buried deep in the Florida Everglades.

Friend Michael Winslow (sound effects wizard Larvell Jones in all the Police Academy movies) said it was a great read (fun, too) but too controversial to be produced as a movie without a book first proving its commercial appeal.

I reluctantly agreed.

But (as always with such critiques that require further effort) in response I simply hid the script in my underwear drawer so it’d eventually be found (and produced, to great critical acclaim and shocking financial success) long after I died.

That’s how it works, folks – ask Phillip K. Dick.

Anyway,  here goes: turning your own screenplay into a book. It can’t take much time, right? Maybe three weeks, then back to finish Killing Time.

I mean, the hard work on Interception City’s already been done, long months of writing it in Key West between long afternoons of poolside drinking, spicy shrimp at A&B Lobster House and general frolicking until 4:00AM. After all, the story’s there. The characters are there. The dialogue, of course, is there (that’s mainly what a screenplay is, after all, plus some minimal stage directions).

I’ll just throw in a few descriptions of trees, cars, sky, swamps, rooms, dead bodies, etc., etc., etc., and it should be ready to go.

Consider it an experiment. And I’ll definitely let you know…

BTW, and again, Killing Liberty is getting some decent reader reviews, even by people I’ve never met or heard of (really), plus it will be soon reviewed by The Key West Citizen’s Solares Hill section.

I’m hoping for the best.

http://www.amazon.com/Killing-Liberty-ebook/dp/B008LMI6PK/ref=tmm_kin_title_0?ie=UTF8&qid=1348672188&sr=1-1

 

Sep 122012
 

Robert W. Fisher

My next crime thriller to be published by Black Mask, Killing Time, will take place in Key West, Florida, otherwise called The Conch Republic. For those who don’t know, Key West is a small dot of coral (less than 4 miles long by 1½ miles wide) located 154 miles out in the Gulf of Mexico.

It’s the southern point of the contiguous United States, at the far end of a single road called U.S. Route 1. It’s also closer to Cuba than Miami, across only 94 miles of exceptionally warm ocean from Havana.

The weather, not surprisingly, is always perfect.

And the drive is gorgeous, through a string of narrow tropical islands and along many causeways, where the clearest water possible turns gradually from green to pure turquoise well before ending at Mile Marker 0 at Fleming Street and Whitehead.

Like Killing Liberty, my first crime novel, Killing Time will feature tough ex-Detroit PD homicide detective Derek Raiford. And, of course (much as Roland The Headless Thompson Gunner spent his days), Derek’s crime-stopping adventures will keep him knee deep in gore.

Yet he’ll still have time to enjoy Key West. As it should be enjoyed.

Although we’re currently living back in mid-Michigan, my wife Ellen and I will always consider Key West to be our adopted home; adopted because only folks whose families have lived there for a hundred years or so are thought of as true Conchs: the genuine natives of Key West.

Seven generations are about average for a Conch. The rest of us were newcomers, even after years. Freshwater Conchs, we were called.

Fair enough. But newcomers or not, we’ll take that particular island paradise as our home-away-from-home and love it as if we were genuine Conchs ourselves.  And we’ll get back there as often as we can, even spending entire months there during the winters.

Anyway, here’s the Key West we know:

It’s a drinker’s town – the well-known phrase ‘Come to Key West on vacation, leave on probation’  is mostly true. The numerous bars (over 200!) are open until 4:00 AM, close for two hours to clean up the mess, then reopen at 6:00 AM for those needing that morning gulp of rum.

I had my first-ever martini (classic gin with a touch of vermouth, stirred not shaken, blue cheese stuffed olives, mostly out of writer’s curiosity) at the fantastic Café Marquesa on the corner of Fleming & Simonton Streets. It was a huge perfect concoction with a ‘sidecar.’  I did not get right back into our 20-year-old Jeep Wrangler, instead managing to walk (stumble) around the island for two hours before driving home again.

I mostly couldn’t feel my face; but no DUI’s for either of us yet.

A couple of years ago the young son of a friend arrived in Key West for a job managing one of the many raucous clubs on Duval Street, only to get two DUI’s within one week. Both of them on his motor scooter.

He quickly returned to Michigan.

It’s an adult town – anyone naïve enough to bring their young children on vacation does so only once. The few parents walking with kids on Duvall Street are constantly putting their hands in front of the kids’ eyes, shielding them from much of the activity. This includes the windows of the many tee-shirt shops with numerous funny (dirty!) tee-shirts in full view.

Mom says, “Fuck you!” is still popular.

It’s a wild party townFantasy Fest (ten days leading up to Halloween in October) features public nudity and near-nudity. Most of the women and girls, visitors and locals both, paint on their bathing suits before parading around the streets. Thousands of them! It’s glorious, to say the least, and often makes Mardi Gras seem like an elementary school outing.

The Garden of Eden, the clothing-optional hangout on the roof of the Bull & Whistle Bar (a three-story open-air rock n’ roll palace on Duvall Street that goes day and night), has the occasional naked reveler hanging off the side and waving to the crowds below.

Sometimes wagging instead of waving. Sooner or later, though, there has a be a naked dead guy or girl ending up in the street. So far, no.

It’s a pirate town – always was and always will be, making it a perfect place to set a crime novel. Stories too numerous to even mention easily fill evenings of socializing or people-watching at places like Sloppy Joe’s, The Half-Shell Raw Bar, the Green Parrot, Captain Tony’s or any of the others.

People (good, bad and sometimes very bad) routinely run to Key West to start over and to get away from their old lives. Last names are always optional and never asked. It’s a perfect place to make a getaway. Or to use as a hideout.

But, to me, most importantly:

It’s a writers’ town – more Pulitzer Prize-winners have lived in Key West, per capita, than any other city. The Key West Library is first rate and features many books by both past and present Key West denizens. Book signings by well-known authors are routine at the excellent Key West Island Book Store.

And obviously, everyone knows that Ernest Hemingway, Tennessee Williams, John Dos Passos, Robert Frost, Randy Wayne White, James W. Hall, Tim Dorsey and a hundred other successful writers lived there, worked there and/or simply wrote there.

Again, it’s the writers’ town.

Hopefully, one day, we’ll move back permanently. If so, feel free to keep in touch if you ever want to visit. We do know our way around Key West.

And we enjoy company.

By the way, the printed version of Killing Liberty, as well as the Kindle edition, is now available on Amazon.  Here’s the link: http://www.amazon.com/Killing-Liberty-ebook/dp/B008LMI6PK/ref=tmm_kin_title_0?ie=UTF8&qid=1347474896&sr=1-1

 

 

 

 

 

Aug 102012
 

The cult classic One False Move was a very hard movie to find a few years ago, and during any of the years since 1992 when it was made. Originally intended as a direct-to-video (but brought to theatres due to extensive word-of-mouth), almost no video/DVD store has ever carried it.

It was barely available online. People I told about it over the years had to search near-endlessly for the damn thing.

This, even though it was rated a Top 10 film of 1992 by many critics and the Best Movie of The Year according to Gene Siskel.

It’s also one of the very few movies to receive a 100% on Rotten Tomatoes. It still has that 100%, even with current reviewers.

Starring Bill Paxton, Billy Bob Thornton, Cynda Williams and Michael Beach, this violent crime thriller is occasionally almost too chilling to watch, mainly due to the sociopathic nature of the bad guys (Thornton & Beach).

For the great Bill Paxton, it’s the role of a lifetime.

As the local Chief of Police in tiny Star City, Arkansas, Dale ‘Hurricane’ Dixon, he steals every scene he’s in, whether dealing with the big-city L.A. cops chasing a trio of remorseless drug-killers to his hick town or shooting it out with the killers themselves.

Secrets from the past pour out as murder and mayhem abound.

When the video finally came out, I recall lending it to friends of ours, an older couple. I was then told the wife got up in the first ten minutes and said, “Sam, I can’t watch this.” After she left the room, my friend watched it for another fifteen minutes, then got his wife, brought her back, and told her:

“Mary, you’ve got to see this movie.”

It’s that good.

Full of nerve-jangling suspense, shocking violence and the darkest humor imaginable, One False Move ranks right up there with the equally brilliant crime thrillers, Blood Simple, written and directed by the Coen brothers, and True Romance, written by Quentin Tarantino and directed by Tony Scott.

The surprising fact about each of these movies is that they were firsts for each of the writers.

It’s well-known that Tarantino sold his first real screenplay, True Romance, to help raise the money he needed to make and direct Reservoir Dogs. The Coen Brother’s first movie, of course, was the amazing Blood Simple.

And One False Move was Billy Bob Thornton’s first script. Billy Bob wouldn’t do Sling Blade (1996), often considered his first real success, for four more years.

We were in Flint, Michigan when One False Move was released and, due to the rave reviews coming in from Los Angeles, we rushed to see it on the big screen. Luckily so, for it only played in Flint one brief week and then was gone, back to the big city.

Like Star City, Arkansas, I guess we’re considered a hick town here, too.

But it’s a good place to hide out and write.

My last crime thriller, Killing Liberty, written under the pseudonym Parker T. Mattson, is the first of five crime novels to be published by Black Mask featuring ex-Detroit PD homicide detective, Derek Raiford.

As the man who fell out the 10th-floor window said as he passed each floor on the way down: “So far, so good.”

Published by Black Mask and available as an exclusive Amazon Prime e-book before going into print distribution

 

Aug 022012
 

In the long-ago Hollywood of the 1980’s, I was hired as a Script & Story Analyst (think: reader) by Samuel Z. Arkoff, the legendary producer/distributor who was truly the “King of The B-Movies.”

It was Sam Arkoff, in fact, who gave the famous Roger Corman his start. Corman remained with him for many years.

By the time I came along, Arkoff had sold American International Pictures, his production company since the 1950’s, and started Arkoff International Pictures in a penthouse on Sunset Boulevard. It was a huge place, taking up most of the entire top floor of a landmark building in beautiful Beverly Hills, right at the edge of West Hollywood.

It had a view to kill for.

According to his autobiography, “Flying Through Hollywood By The Seat Of My Pants: By The Man Who Brought You ‘I Was A Teenage Werewolf’ and ‘Muscle Beach Party,’” Samuel Z. Arkoff produced over 500 movies.

His formula was simple, as drummed into our heads by the head of his story department:

  • Find a low-budget feature with enough of a hook to not require expensive ‘name’ movie stars.
  • The script had to contain action, violence and, of course, sex appeal (Arkoff called it fornication in his book).
  • The script should contain a controversial or revolutionary idea or two, and a bit of memorable dialogue.

Also, titles alone could often sell a picture: High School Hellcats, The Amazing Colossal Man, Drag Strip Girls, It Conquered The World, The Astounding She-Monster, Earth vs. The Spider, to list just a few of his earlier movies.

You get the idea.

At the time, I was living in a large house on Ozeta Terrace, sharing it with a screenwriter/director and his girlfriend, up in the Hollywood Hills. We also had a fantastic view, all the way out to the ocean and back across Hollywood to downtown Los Angeles.

Our place was straight up the street from the Whisky a Go Go down on Sunset Boulevard and North Clark Street. It was also the house that Ingrid Bergman lived in during the making of Casablanca in Los Angeles. The great Sydney Greenstreet had lived next door and he’d recommended it to her when she flew into town.

In case you’re wondering, that entire film, Casablanca, was shot at Warner Brother’s/Burbank Studios, the Van Nuys Metro Airport in the Valley, and Flagstaff, Arizona. The owner of our Ozeta Terrace home was a woman in her late 90’s who had inherited a great deal of property early in life and, according to the attorney who handled the leasing details, had also been Ingrid Bergman’s landlord.

Nice connection.

On my first day as a Script & Story Analyst (reader) at Arkoff International Pictures, I was given the rules and the forms to be used for coverage.

The entire script, regardless of how good or bad it was, had to be read.

I was to write a 1-page summary, covering all three acts, the plot points, subplots, all conflict, and the resolution. In addition, each character had to be listed and briefly described. I was to rate the premise, originality, structure, pacing and characters. This was to be included in a total of three pages. At the end, I was to give my opinion as to potential budget and whether it was a story that could ‘stand on its own’ without a name star.

Fair enough. And, it turned out, great fun.

Then I was taken to a large room stacked to the ceiling with unread screenplays. Piles and piles of them. To the actual ceiling. Seriously, hundreds or even thousands. In that room, I was told a few facts which have remained with me to this day:

  • The stacks of scripts were at least 2 years old, many of them over 3 years old (again: unread).
  • This wasn’t the slush-pile; every script in the room was submitted by an agent.
  • Between 50,000 and 100,000 scripts a year were registered at The Writers Guild; only about 400 movies a year are produced.
  • If there was even one script in the entire room worth spending the money to get produced, it’d be a miracle.

I was told, “Bob, pick out several and start reading. It doesn’t matter which ones.”

Like I said, great fun.

But not very encouraging for a screenwriter-hopeful. Yet it was sadly true. And almost every script I read was…not great.  Not even very good. Agented scripts. ‘Sam you’re gonna love this one…’ scripts. ‘This’ll be your next box office hit’ scripts.

In my many months of reading, writing coverage, and recommending or not recommending scripts to Samuel Z. Arkoff for further attention, I only highly recommended one. A seemingly good one, by someone I’d never heard of.

And I have no idea whatever happened to it. I have not yet seen it as a movie.

I also learned from the other readers that this was almost always the case. Maybe one script out of several hundred got a ‘Please check this one out…’ recommendation.  I can only imagine what it’s like getting a screenplay through the reader process at a major studio.

Not fun.

Still, it was a great experience, working with great people, and one I’d never trade. Reading literally miles of scripts, I learned a lot about how to write, and (maybe more importantly) how not to write, a screenplay.

And that’s the trick, I guess.

Learn how not to write a movie, then write one.

And I’ll admit, I’ve used much of what I long ago learned at Arkoff’s (through sheer osmosis, mainly), when I decided to write a series of crime novels under the pseudonym Parker T. Mattson.

Published by Black Mask and available as an exclusive Amazon Prime e-book before going into print distribution

 

Killing Liberty, through Black Mask Publishing, is currently an Amazon Prime e-book, but will  be going into print shortly.

As an ex-Script & Story Analyst, I would appreciate any helpful coverage. Love it or hate it, feel free to candidly let me know what you think.

Seriously.

 

Jul 272012
 

My new crime novel, Killing Liberty, written under my pseudonym for fiction, Parker T. Mattson, is out there and doing pretty well, but this is about an earlier time and a project that didn’t do so well…

A few years ago, I was fortunate enough to have a breakfast meeting in Los Angeles with Gloria Borders, the Academy Award-winner for Best Effects & Sound Effects Editing for Terminator II – Judgment Day. She’d also worked on a whole series of great movies, including Forrest Gump, Indiana Jones & The Temple of Doom, Driving Miss Daisy, and on and on.

More recently, stepping into the producer’s role this year, she Executive-Produced the hugely successful hit, Snow White & The Huntsman.

At the time I met with her, she was working for Revolution Studios, the Joe Roth production company. In any case, her opinion (important insider stuff, I believe) was that the two biggest demographics for box office hits were: 17-year-old boys in baseball hats and, right behind that, 35-year-old women who dragged their husbands or boyfriends or girlfriends to the theatre.

Or convinced them to rent the DVD.

Good to know.

I was then in the middle of doing seemingly endless rewrites on my in-development-and-optioned but never produced crime thriller script, Winter Heat, at the seemingly endless requests of both the director and the producers.

My brain was fried and I needed a break.

So, as that break, I took five days and knocked out a screenplay certain to appeal to the demographic I felt most comfortable with (mainly because I’d been one and remembered it well): 17-year-old boys in baseball hats.

First, I picked the most lurid title ever: Cannibal Zombies Of Voodoo Island!

If I could’ve worked the words Naked and/or Sex somewhere in there, I would have. After all, I was going for the most common denominator (okay, lowest common denominator) and there was a lot of nudity in my script. Starting on page two. And graphic violence. Nonstop. Starting on page three. And humor, throughout.

The script made me laugh, at least.

Steve Zacharias, who wrote the Revenge of the Nerds scripts and the hilariously offensive cult classic, The Whoopee Boys, read it and thought it was very funny. In fact, he told me to shoot it as a straight comedy, although a particularly gory and naked one.

Interesting idea, but I thought I’d stick with just the comic relief bits instead.

Anyway, I knew the poster and DVD box art for a title like that couldn’t miss. Young males in baseball hats would be lining up to see such a film. Or to eventually rent it. I seriously doubted if 35-year-old women would bother, but I was thinking the genres were mutually exclusive.

I still think that. Anyway, the story was simple:

A group of young American students attending medical school in the Caribbean get stranded on an uncharted island where the U.S. Army Department of Biological & Chemical Warfare is developing zombies for use in battle. Experimenting on ‘disappeared’ P.O.W’s from our skirmishes around the world. To create disruptions behind the enemy lines. Needless to say, the zombies on the island run amok, kill and eat the scientists and military people, and then hungrily await their next meal: the unsuspecting medical students.

Standard zombie stuff, again, complete with R-rated nudity and violence. Perfect. I wasn’t even embarrassed to have written it.

It turned out that Joe Wolf, the Executive Producer of Nightmare On Elm Street and a few of the Halloween movies, loved it.  And he told me it would probably make a franchise; in other words, continue for 5 or 6 sequels. He even had a budget done for it, a low, low $785,000, to be shot entirely on the coast of Florida.

No sense in heading out to an island in the Caribbean where we might run into actual zombies. That’s right, they’re real. Mostly working on isolated sugar plantation islands outside of Haiti. Just look up the study done by Harvard several years ago if you don’t believe me.

Also, Joe Wolf attached a director, lined up distribution and from then on I knew my wife and I would be spending a summer on a cannibal zombie island somewhere in Florida, shooting a film I suspected would be great fun. And getting paid for it.

And writing a few follow-up movies to it. And getting paid for them. Many more times.

Perfect.

And then, at 78 years old, Joe Wolf suddenly died. Which broke my heart in more ways than one. And it all fell apart. And I threw the script into my underwear drawer.

Where it’s currently scaring the hell out of my underwear. Which explains some of those stains.

 

Published by Black Mask and available as an exclusive Amazon Prime e-book before going into print distribution

 

 

Jul 202012
 
 

Published by Black Mask and available as an exclusive Amazon Prime e-book before going into print distribution

Killing Liberty, my new pulp crime thriller written under my pseudonym, Parker T. Mattson, is a disturbing book.

It’s especially disturbing because many elements (although complete fiction, as far as the publisher’s legal department is concerned) are based on true incidents. Incidents that I learned about directly from several of the people involved, in the actual locations involved.

Of course, quite a bit of online research was also necessary. As was a lot of fictionalizing. Is that even a real word?

Anyway, I chose to deal with the theme of emerging depravity, in this case, modern emerging depravity (think texting, sexting, Internet webcam chats, etc. ) in an already corrupt and decadent little southern Alabama city, as discovered by hardened ex-Detroit PD homicide detective Derek Raiford.

He’s sought out and hired by the mayor as that city’s new Chief of Police after the former police chief is disgraced when caught in the middle of an underage sex scandal. Instead of being arrested, or even just fired, the ex-chief is simply moved over to the position of City Fire Chief, at no loss of pay, seniority or eventual pension.

No charges were ever filed. No records ever kept. True enough.

And to say the ex-police chief and his minions resent Derek as that city’s new head law enforcement officer (and worry what he might uncover, inadvertently or otherwise) would be an understatement. They want him out, at any cost. And are willing to do whatever it takes to achieve that end.

The consequences to them all would be disastrous.

With all that in mind, then:

The gruesome decapitation of Lloyd Baylor, forty-two but recently married to a sixteen-year-old high school nymphet, sets off a chain of events both shocking and puzzling. Baylor’s death soon leads to lies, desperate cover-ups, a missing young girl assumed dead or on the run, arson, and more murder.

Murders (multiple, actually), each more shocking than the last.

And the young widow, a genuine beauty at any age and a seductive mystery in her own right, provides even more resistance against Raiford’s efforts to find her husband’s killer; she adamantly refuses to admit the terrible truth surrounding them all, even at the cost of her own life.

In Killing Liberty, Derek Raiford faces an unseen but murderous conspiracy that could easily leave him dead and buried in the woods.

More than once, in fact, his new life makes him long for his earlier days as a big city Detroit homicide cop. At least there, in all the grime and filth of ‘Murder City, USA,’ he knew who the bad guys were. In his recently adopted Down South home, everyone’s a suspect.

And a potential killer.

Here’s the link to Amazon.com: http://www.amazon.com/Killing-Liberty-ebook/dp/B008LMI6PK/ref=sr_1_1?s=books&ie=UTF8&qid=1342797618&sr=1-1&keywords=killing+liberty

If you get a chance to read Killing Liberty, as either an e-book or a paperback, let me know what you think. And if you hate it, lie to me.

That’s what friends are for.

 

 

 

 

Jul 182012
 

A Few Books By Lawrence Grobel

Several years ago, my wife Ellen and I found ourselves in Los Angeles with a day to kill, so we set up a lunch with a couple of longtime friends, the writer Larry Grobel (some of his books are pictured above) and a successful movie producer whose name I won’t use because we’re still partners in a couple of interesting projects.

Larry had wanted to meet this particular producer for some time and the producer wanted to meet Larry as well, so that was at least part of the reason for our lunch. And it turned out to be a particularly nice lunch, complete with company that we’ve always greatly valued.

We’d jointly decided on Musso’s – the Musso & Frank Grill on Hollywood Boulevard. If you’ve never eaten there, I recommend it as one of the must try restaurants in Hollywood. It’s the oldest so-called grill (founded in 1919) in the city, understandably famous, and it’s mostly the old school crowd: actors, actresses, writers, directors and producers.

I guarantee you’ll see someone famous eating there, either at the counter or in one of the many comfortable booths.

Anyway, over the years, I’d read many of the excellent books written by Larry, most notably Conversations With Brando, The Hustons, Conversations With Capote, Al Pacino – In Conversation With Lawrence Grobel and The Art of the Interview.

Larry’s books read beautifully and are filled with more insider Hollywood stories and critical insights than there are in heaven and earth.

Before crossing the street for lunch at Musso’s, Ellen and I stopped in at Larry Edmunds’s Bookshop and we bought each of the above mentioned books in hardback because I wanted Larry to autograph them. I’ll mention here that, in total, they weighed about 25 pounds; the Huston book alone (at over 800 pages) probably weighs 10 pounds on its own.

I should also mention, though, that I read that huge book about The Hustons straight through, riveted by page after page of terrific stories and photos involving the true film greats and the exciting and classic movies that made them great.

In other words, the real Hollywood.

Larry makes you feel like you’re right there, having a drink at the bar with these bigger-than-life characters and just waiting for the giant bar fight to begin at any moment. Informative and educational, yes, but (more importantly, to me at least) always fun.

In any case, our producer friend at the lunch brought a date, a sweet-natured young woman of 18 or 19. Did I say young? I hope so, because I believe it’s the point of this little piece. If not, you can feel free to sue me, for something akin to age descrimination, I guess.

Anyway, she was a true L.A. girl, very smart and well-mannered and extremely pretty, pursuing an acting career but working at an ‘oxygen store’ where one paid to inhale a dose of pure oxygen, meant to increase your thinking and, supposedly, your ‘being’ ability.

I’m not sure those stores exist anymore.

Ellen and I arrived at the booth at Musso’s last, lugging in that heavy pile of hardback books, and I carefully set them down beside Larry Grobel.

And as I said, we had a great lunch, right out of the movies as far as I was concerned and, over coffee and dessert, Larry brought up the first book, put it on the table beside him, took out a pen and generously autographed it to me.

To which he got a look of utter horror from the young woman sitting across from him.

When Larry picked up the second book to sign, the young woman with our producer friend could stand it no longer. “My God, you can’t do that!” she blurted.

To which Larry explained, “I wrote all these books and I’m signing them for Bob.”

The young girl still couldn’t believe it.  She said:

“But won’t the library be mad?”

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