Tuesday, August 30, 2011

It's Been Awhile...

I haven't posted on this blog in quite awhile simply because I have been uber-busy with setting up Pulp 2.0 Press and working on a lot of books - some of which have already come out and are available.

Just to give you a picture of what's in store:

Terror of Frankenstein - digital edition will be out the beginning of September.

The Miracle Squad - is being edited and tweaked and files will be sent to the printer for a proof.  Look for it at the end of September.

Frankenstein Lives Again! - is being laid out for print ....

Scarlet in Gaslight - is being laid out for print... look for it in December right as the new Sherlock Holmes movie comes out.

Agent 13 - is being laid out for print.  I'm also considering doing a pulpy photo shoot for it.

In addition, we have projects that have been slowly gestating such as:

The E.R.B. Thrillogy  - an ebook featuring three Edgar Rice Burroughs novels with all new artwork by Doug Klauba.

And a 7 novel compendium of Tom Corbett, Space Cadet novels featuring all-new art by Mike Fyles.


This is not to forget the fact that we are also putting together collector's editions of BIG BANG COMICS.

In other words - I've been busy, on a learning curve and trying to make a living... sort of.

So I'm putting out the call for some help:

One of the projects I am assembling is basically a Pulp 2.0 Mediamaker's "Toolbox" - a book that collects all my essays from hell here in the blog, as well as material from the old Pulp 2.0 Electrogram.  This book will be designed to be a useful reference and inspiration for the Pulp mediamaker - the filmmakers, cartoonists,  designers, writers, screenwriters and others...

So I need you to send me your feedback on what posts definitely need to be in the book.  What resources do you definitely want to see that you aren't getting from other books?  I am a different kind of media bastard so I want this to be a different kind of book, one chock full of news you can use.

I'd also like you to send me any questions you have that need to be answered in this book.

Wednesday, December 01, 2010

DON'T JUST STAND OUT... STAND TALL FOR SOMETHING

Ted Hope has a great little "list-post" outlining how to stand out in this crazy film biz.

Of particular interest is item #10 (which in my mind should be item #1 and be beaten into every film student's skull like the Phantom's ring). It reads:

Don’t look to be discovered.  The film industry encourages a plantation or corporate hierarchy way of thinking, which again only benefits the status quo.  This is most represented by the old way of bringing a film to market upon completion.  The filmmakers who design their projects to take directly to their audiences will demonstrate a forward and practical way of thinking — and one that does not negate a later adoption of old methods (if someone wants to dump a pot of gold on you that is).  Abandon the belief that all you have to do is make a good film and the rest will work out — it’s akin to a slave mentality.  Why do you need someone to discover you?  What you need is to find a way to keep producing new work.


This is the key to longevity in this business... 


If there are an estimated 27,000 indie films produced every year  and less than 600 get any sort of distribution then don't you think you need to think differently than the other guy?  Don't you think you need to make sure your film gets to the right audience instead of leaving it up to the distributor to try and find them?  

  • I'm telling you that you do need to think differently. 
  • I'm telling you that your film probably isn't that special and could do with some "sprucing up." Most likely at the development stage where most productions go wrong.  
  • I'm telling you that if you don't make it better, or if you leave it to the distributor to do then you are leaving money on the table as you walk away. 
  • I'm telling you that you can do it yourself - it's not easy, but the rewards will go to you and your investors first instead of to the middleman. 
  • I'm telling you this because I've worked (am working) for the distributors and production companies.  They don't know anything you don't know or can't learn quickly.  
But mostly, I am telling you to be passionate about what you do, and stand up for it because it will make all of the difference.  It will make all the hard work, the frustration, the lawsuits and the angry phone calls and emails worth it.  I speak from hard-fought experience.  

Tuesday, November 30, 2010

WALKING AROUND DEAD....AND LOOKING FOR A GOOD STORY

There's a lot of controversy brewing regarding Frank Darabont's letting go of his writing staff for the new WALKING DEAD series....

You can read about that here. Tons of comments to bury yourself wade through.

One of the comments though struck a chord with this pulpster and I think it's important to share with you because it's the formula for making a great first movie or web series, and that's what we deal with here at the old pulp HQ.

Ladies and gentlemen, I present the independent, homespun wisdom of someone named Mark Georgeff:



"If people’s idea of a quality tv show is how great it is lit and looks, then we might as well shove the original TWILIGHT ZONE down the toilet.

The really great tv shows, like movies, are great stories.


What makes a great story is great characters in great scenes.


Majority of writers on the original TZ were short fiction writers and playwrights whom creator Rod Serling showed how to re structure their stories to fit 30 minute tv slot. A few act breaks for commercials round its down to actually 20 to 23 minute episodes. 

Most were done on a studio sound stage…or exteriors on backlots or in mall towns. Having great-looking visuals or well lit scenes do not make any of those great TZ episodes stand out or stand the test of time. Since they were all in black and white anyway.

Majority of them also had a lot of unknown, but talented actors who loved to just act, as opposed to very hyped up and marketable stars.

And Serling gave them a shot. 


He had a budget and stuck to it no matter what.

Which helped him focus strictly on the story.


God knows Serling made it a point for his most powerful stories about the human condition…to be done through subtext. Not overt at all.

Maybe Darabont should take a simple education from Serling…because from what I’ve seen so far…the WD is simply run of the mill. 

No amount of bigger production budgets or simply going to freelancers is going to change this. Just find and / or train good writers. You can always get them a WGA card. 

And I love Zombies as much as the next ghoul."

Monday, November 08, 2010

Pulp 2.0 Tees on Sale Now!

You can get them right here.  Put some pulp on your chest with a 100% cotton Hanes tee. 


Perfect for all occasions!

Thursday, November 04, 2010

Oh BTW, We're on IPad....

Techie Intern brought in his IPad this morning and we played around with it....


Kindle for IPad works great (Downloaded BROTHER BLOOD which is now #1 on the listing!) as does your typical web browser...

Pulp 2.0 - serving all your pulp media guilty pleasures. 

Wednesday, October 27, 2010

The Pulp 2.0 Brand

One of the questions I get asked the most is "What sort of material are you looking to license for Pulp 2.0?' It's  certainly a fair question, but sometimes hard to define as I do have eclectic tastes when it comes to my reading, movies, comics and toys.  I thought I would take a moment to sit down and try to define my tastes, and give you a clearer insight into the Pulp 2.0 brand.

Come to find out that it's a good time to discuss branding, universes and "presence" on the internet bookshelf. 

When I was a snot-nosed brat growing up, one of the best places to visit was downtown Aiken, SC.  A short bike ride past the Highland park golf course and voila' you were in the center of a cornucopia of small shops, thrift stores, drug stores, 2 movie theaters (The Rocking Chair and the Mark 1&2), a sporting good store and a newsstand/convenience store.  For a ten-year-old kid this was a major component of the pulp paradise that would help define my level of taste  (the other being Kmart and Nonesuch Books ).

Downtown Aiken, SC had, for all intents and purposes been built in the fifties and sixties when the Savannah River Nuclear Facility came online and brought thousands into the sleepy town and the 20th century.  Prior to that, the main street was dirt and geared toward not only cars, but horses and carriages. Aiken was known as one of the premier horse training areas in the country with several Kentucky Derby winners to its credit. It was a small town that liked it that way, and did its best to accommodate the great influx of  people, money and commerce that a nuclear plant provides.

So by 1974 or so, I had the good fortune to be able to navigate this sleepy downtown corridor of 50's storefronts and find all sorts of cool things - the kind that delight the mad-pulp-bastard-in-training with a voracious appetite for reading, hobbies and movies - of the fantastique variety.  We would get Aurora model kits and Estes rockets from Aiken Sporting Goods. We would devour copies of Famous Monsters, Creepy, Eerie and Vampirella  at the Quick Stop; pick up comics at Hooks Drug store and Starlog and Fangoria at Aiken Drugs.  Some Saturdays we would go to the Rocking Chair Cinema and see things like The Golden Voyage of Sinbad, Silent Running,  The Planet of the Apes movies, Godzilla v. Bionic Monster, and later more adult fare like The Great Texas Dynamite Chase, Death Race 2000 and yes, even Big Bad Mama.  


[OMG - Captain Kirk is getting naked with Police Woman! She is so hot!] 

So this is the stuff I grew up with (though not necessarily grew up on. I went to high school with an emphasis on reading, and because I had such a habit I read everything - including all the literature that's supposed to be good for you).  Yes it informed my style, and the style of many of my peers.  From those humble beginnings we haunted garage and attic sales and the occasional swap meet looking for these buried treasures...

And we realized we weren't alone.


So if you remember Famous Monsters,  weird series fiction paperbacks, Aurora model kits,  masked mexican wrestling, cliffhanger serials, pinup magazines, and all of the movies mentioned above then you have a pretty good handle at what makes my clock tick.  That's what we're doing with Pulp 2.0 ... and not just with books.

(Cue dramatic organ music)

So what does that mean for you creators and our audience?

For established writers it means if you have material that fits the description and has been published before - we want to talk to you to see about possibly licensing your work for new pulp-inspired editions.  We want to keep your work in print and looking its best to our audience so that it makes all of us a nice profit.  This includes prose as well as graphic novels.

For artists it means we want to see about licensing art from you for covers and interior illustrations.

For new writers who may have a few credits it's an opportunity to work with us writing novel and graphic projects we've developed - just like the old pulp publishing houses. You'll have the chance to earn money in print as you develop as a writer.  You get to work with all of us here and get stuff done.

You see, I'm setting a goal of licensing 100 titles in the next two years.  A pulp library dedicated to bringing back the "buried treasures and guilty pleasures" of yesteryear, as well as developing new pulp properties in the classic mold.  A library that draws an audience and is the launching pad for all sorts of media creations: tee shirts, posters, web series, movies, games and toys.

(Nobody ever said I wasn't ambitious)

For the audience it means you'll get a plethora of pulp entertainment at your fingertips (or wifi connection) : digital books, print editions, media and merchandise that doesn't break your bank and looks great on the shelf.  It means you get to hang out with people who are just like you, and help us develop a company that's geared toward what you like. Maybe even develop your own talents just like Don Glut or Joe Dante or John Carpenter (when they each wrote for FM) and become a pro at it.


We've already had some small success with Brother Blood and we're building on that with Radio Western Adventures and our upcoming Frankenstein Lives Again.  
















I can let you know right now we have many more cool things in store for you, and I look forward to hearing what cool stuff you have in store for us... 







Tuesday, October 26, 2010

I Googled Myself (You've done it too, don't try and deny it)

The terms Pulp 2.0 , Mad Pulp Bastard and D2DVD all point to this blog when searched on Google.  They are each in the number one position, especially when combined with my name.


Nifty huh?  Guess I haven't been slacking off as much as I thought.... (Ha!)


I also found some really cool and humbling quotes about me and my little area of the business that are quite lovely.  Thank you all. It gives me the energy to continue my work carving out a recognizable pulp entertainment niche. When the fingers are numb after typing and the eyes are red from staring at designs and fonts all day - and you know the day is only half over it's nice to know you're appreciated in some way shape or form.


Especially when an academic resource website says you're one of the 60 Best Blogs out there.




I first came across Bill Cunningham at his website, Pulp 2.0, a few years ago and was an instant fan. Our paths crossed several times over social networks and we finally spoke when he announced the formation of Pulp 2.0 Press several months ago. 


- Stefan Blitz, Forces of Geek


Bill screened my film twice during our long editing process (at the very beginning and very end). Both times he gave absolutely indispensible advice on cuts, music and sound design. If you're making a movie, webserial, short, (or let's face it, ANYTHING you expect people to actually sit through and pay for the privilege to see) you'd be a fool not to consult with him. 


- Lis Fies, The Commune


This is the web home of the Mad Pulp Bastard himself – Bill Cunningham. Even if you’re not interested in pulp or genre filmmaking, his site is a must read. On a daily basis, Bill delves into the business and marketing of film and new media. You should also sign up for his e-mail newsletter where he goes even deeper into these subjects and gives out PDFs of information you won’t find anywhere else.


                                                - Christopher Sharpe, Sex Machine


-- Bill Cunningham, who's been relentlessly preaching "Get of your ass and make your own media", just issued the first chapter of his old school radio play, "The Murder Legion Strikes at Midnight" online.


-  John Rogers, creator / showrunner,  LEVERAGE 




Most interesting to me, though, are the guts of the idea. Joss Whedon blowing his savings account on staging a 45-minute serial for the internet (that will doubtless prove to be i2dvd — internet to dvd — apologies once again to Bill Cunningham for perverting his "d2dvd" coinage)


* (Direct-to-DVD has long interested me, since I made the acquaintance
of DVD pulp king Bill Cunningham. D2DVD is the common search term.
D2DVD still has the stink of straight- to-video on it, mostly because of the potboiler crap that fills the field, but it wouldn't be hard to do something that was actually good
in the area.) 


-- Warren Ellis, writer Red 

So to all of you who make me the mad pulp bastard that I am, thank you.  Not just the wonderful people I've quoted above, but the gang of you who actually listen, and are applying the lessons I've learned toward your heart's desire.  That is so profoundly cool and humbling (I've said that twice now - I am officially obnoxious). Thank you.


So all of you creative types with "a passion for the cult and pulpy" you just keep on doing what you're doing, and...


I'll just keep adding to the discussion wherever I can. Now if you'll excuse me I have to try and fit my head through the door. Anyone have any butter?