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Mick Garris Interview Main

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INTERVIEW: MICK GARRIS

Interview conducted by Stuart D. Monroe

The Nicest Guy in Hollywood. Stephen King’s go-to director for a quality miniseries. The man behind the iconic show, Masters of Horror. The Voice of Post Mortem a.k.a. THE horror podcast. The King of Hollywood Horror. That dude on every horror documentary you’ve ever seen with the killer long, white hair. Whatever you know him as, one thing is for sure: Mick Garris’ work has impacted you as a horror fan.

In between all the stuff you know about Mick (yes, he told me I could call him that!), there are surprises to be found. He started as a receptionist for Steven Spielberg’s fledgling Star Wars company in 1977. He’s written for a slew of TV shows from Amazing Stories (he’s the unsung hero of that series, for the record) to Tales from the Crypt. As a writer, he wrote classics like Hocus Pocus, Batteries Not Included*, and Riding the Bullet. He’s even written for Disney (we’ll get to that in the interview)! He’s learned from the absolute best and can even call Stephen King a personal friend. In short, Mick Garris is living the dream – he’s a California native who has legit Hollywood clout while being a quality human being that no one has an unkind word for. That’s not just impressive; it’s as rare as a black unicorn.

What I didn’t know and wasn’t prepared for was the chops he has as an author of horror fiction. Sure, he’s a renowned screenwriter, but the two mediums are completely different animals and don’t always cross-pollinate. In the fiction world, he’s collaborated with both Stephen King (Riding the Bullet) and Clive Barker (The Body Book). His short stories, though published sporadically through small press, are amongst some of the most well-regarded in the industry. He’s frequently sought out for essays and book introductions and having a blurb from Mick Garris on your book is a sign that you’ve arrived. These Evil Things We Do is his first solo collection since 2000’s A Life in the Cinema.

Mick Garris was kind enough to sit down and spend some time with me. We deep dive into his new collection of novellas (and a novel) as well as discussing his style and technique, his feelings about Hollywood and the Southern California scene, future works and adaptations from these stories, his philosophy on how to stay a “good guy” in sleazy old Hollywood, as well as how he traumatized me with Fuzzbucket.

Sit back and enjoy!

mick garris interview 01Stuart Monroe: Good morning, sir! How are you doing?

Mick Garris: Great, thanks! Considering the deterioration of the planet. Other than that, I’m doing well.

SM: Yeah, I think we’re all kind of in the same boat there, just hanging on for dear life. I know I am, at least.

MG: Yeah, well…things are good on that scale anyways.

SM: Alrighty, so I just got finished with The Evil Things We Do last night, though I haven’t written the review yet.

MG: Oh, great!

SM: I was absolutely floored. I mean, I knew that you wrote fiction. I just, admittedly, hadn’t read much of it except for a short story somewhere. I was a little unprepared. I loved the book, to say the least.

MG: Oh, thank you! Not many people know that side of my work.

SM: I’m definitely going to be digging into more of it. I’m an obsessive reader and writer; I’ve got four or five books going at any time.

MG: Fantastic!

SM: Yeah, you’ve loaded up my reading schedule there. So, I see that the overall theme (on the novella side of it, at least) is “Awful People”. However, most of the people in the stories (with the exception of the ridiculously despicable plastic surgeon) were people I found myself to be able to sympathize with to at least some degree. Do you feel that, while the phrase awful people is a bit ironic, it has any parallels to this “cancel culture” year we’re living in where people’s actions are often judged as having evil intentions?

MG: Yeah. I mean, it’s definitely part of that but it’s also as you said, ironic. All of us are more than just a good or bad person. Everybody means their best but are capable of some pretty terrible things. Even the best among us have things that they’re not proud of having done. And one of the things I do as a writer…You know, empathy is part of our job when we’re writing fiction, to become all the characters and make them more than just one-dimensional. One of the things I enjoy doing…it’s a nice purge…is to take what I think are my most horrible thoughts or imaginations and amplify it ten-thousand times worse. I take my least desirable characteristics and amplify them to the point where it’s pretty despicable. It’s a great exorcism to be able to take what I think are my worst qualities and amplify them then purge them.

SM: Definitely. That fiction outlet is always good to get some of that stuff off your chest. I know “Free” was the story that was never published before this book. It’s such a strong way to lead off, too. Was it as emotionally challenging to write as it was to read? It’s a different kind of horror (at least for me, anyways). My heart just kind of broke for the protagonist, who isn’t a bad person; she’s just kind of overwhelmed and sad and hates where she is in her life. It all just turns out so tragic. What was that experience like to write?

MG: Well, it was an experiment. And, you know, what I’ve done in my work in film as well as fiction is what I tend to call “emo horror”, where it really goes into your hearts and guts and not just blood and guts. In this case, the experiment was writing in the first person as a woman who’s having a serious meltdown about her life. Could I put myself in that place? And pain is horrible to experience, but it’s great to experience at a distance. So, to try and go inside of pain and displeasure and unhappiness and experience it from the inside out is truly what I enjoy most about writing. From adapting Riding the Bullet into something really personal as a movie, but to doing “Free”…it’s the most recent fiction that I’ve completed. It’s a time when I wanted to say something not only about my home state and my home town but about desperation and unfulfilled lives that seemed so promising. She and her husband are a writer and a painter and have had this creative explosion. And yet both of them become numb in their own lives together as husband, wife, and parents. So, yeah, it was challenging and yet it came out very fluidly. I did not ever stop and agonize about where it was going to go next. It tends to write itself. My fingers are doing the writing rather than my brain.

SM: Yes, sir. I always say that’s when you know it’s really cooking. I think the metaphor Stephen King used a long time ago is uncovering something that you see sticking out of the ground and just sort of digging it out piece by piece. It gives it that natural feel; such a strong lead off again.

MG: Thank you so much.

SM: When you move on to “Ugly”…

MG: [laughs]

SM: Yeah, exactly. I have to chuckle, too. Warren is probably the most repellant piece of shit ever committed to a page. I mean, from the first paragraph you just despise the man, but he does sound like an amazing surgeon for what it’s worth. Did you have to do any real deep digging from a research standpoint? It’s very procedurally detailed.

MG: Well, you know, living in L.A. and working in the movie business, it’s all around. Plastic surgery and its results are everywhere. I don’t know if you’ve watched the show Botched

SM: Oh, yes! Love it.

MG: It’s fascinating, isn’t it? Watching these worthless sacks of flesh doing everything they can to make themselves into an ideal that only they can appreciate. And so, I didn’t really research it. I just imagined myself being everything I find repulsive about a human being. It’s easily done when you’re surrounded by Hollywood and Beverly Hills, the most spoiled and arrogant human beings on the planet. I just wanted him to be kind of a metaphor for everything that is self-centered, arrogant, wealthy, and privileged; like the kind of car that drives by when you know the asshole driving it has a very tiny penis.

SM: [laughs hard]

MG: That one was a lot of fun, and it seems to have struck people pretty hard. And the whole point of doing this kind of literature is to mislead and misdirect, to surprise the audience. “What, did you think this was a fucking love story?” is kind of my favorite line.

SM: Yes! I can’t remember the last time a story ended so awesomely for me where I was just like stop and silent clap. There was no one in the room, and I’m clapping. It’s not a fucking love story! That’s just fantastic. Exactly the ending I hoped for.

MG: Thank you! Yeah, well the element of surprise is the most important element when you’re writing horror or comedy. Predictability is the death of suspense, you know, unless you dash expectations and you go in the way people mick garris interview 02anticipate and then take a sharp left turn and take them somewhere they don’t expect. Especially if there’s a dark sense of humor behind it; I enjoy that. Wordplay is delicious for me. It’s one of my favorite things, to know the language and use it playfully and entertain while telling a story.

SM: Yes, sir. That’s a wonderful segue, because you have a very playful way of using language when you write. Also, I know you’re a true, born-and-raised Californian. The way you set that West Coast scene really put me there, and I’ve never been further west than Phoenix. I’m an East Coast boy myself who’s in Texas now. You live it, you breathe it, the settings are real – how important is that setting in making your stories flow from the inside out rather than the outside in?

MG: You know, it is important. It’s very important. It really tends to grant a story or a novel veracity. If you write about a place you know, then that it grounds it somewhere so that when it goes into a place of imagination it still feels real and genuine. It’s a living and breathing place. I love my hometown of Los Angeles, but I hate it too. I’ve seen it change over all the years I’ve been around. When I was a kid, the San Fernando Valley was nothing like it is today. To see it change a little for the better and a lot for the worse is, um, it just gives the story a bed on which to lie.

SM: Absolutely. And a strong one at that. You do have a lot to say about the overpopulation, degradation, and the manipulative nature of Hollywood in particular. It’s a flavor that seems to run through all your stories. Since most of us have never gone there and probably never will, I would ask is Hollywood the den of avarice and perversion that it seems like in this post-Harvey Weinstein world that we live in? Or is that a little overdramatized? I know you turn the volume up quite a bit in stories.

MG: Oh, it’s way overdramatized! But it’s also incredibly present. It depends on which side of the camera you work on and what you choose to do and who you choose to associate with. I mean, some of the best people I know work in the film business, and some they’re some of my closest friends. They’re not the jet-setting, Beverly-Hills-partying, snorting-cocaine, and getting a thousand hookers for a party every night. But all of that exists, and Harvey Weinstein is just the tip of the iceberg; there are plenty of those people. But, in my day-to-day workings throughout my career (which has gone on for some time now), some of the best people I’ve ever met and admire the most are really terrific, generous, creative people who are not threatened by other creative people, who encourage it. My first boss was Steven Spielberg, whom I have nothing but admiration for. He opened the door for me that led me from food stamps to a film career. You know, meeting and working with Stephen King and Clive Barker is an example. Steve chooses not to live in New York or Los Angeles just because he wants to maintain that humanity that can sometimes be overlooked in the media centers of the world. And the people you choose to hire and work with – the actors, the crew people, editors, musicians – there are so many great, creative people everywhere. And there are horrible people in every city and every business.

SM: Oh, yeah. For sure.

MG: The people at the top of their game are often filthy in thought and deed in every business there is, but there are so many great people everywhere, too. I’m like Anne Frank; I choose to believe that most people are ultimately good in their hearts.

SM: Yes, sir. I like that. You actually answered my next question. I was going to ask how you maintain that humanity living there every day, but it’s something of a conscious choice to surround yourself with the right people.

MG: It is! And it’s not difficult! One of the things about the horror genre is that we’re kind of the gutter-snipes of film and literature. We don’t get a lot of respect in many ways. There are no Oscars for horror films that aren’t Get Out or Silence of the Lambs. But one of the reasons I put together the Masters of Horror dinner was for a bunch of people who have the same line of work to get together and have dinner and have fun and get to know each other. It went up to like thirty-something people that would go. And they’re really, really great people. They don’t have the egos that the competitive side of Hollywood does. Everybody is rooting for everybody else’s movies and books and TV to succeed! Because what’s good for one of us is good for all us. It really is a quite wonderful group of people with the horror genre being the underdogs. It really makes a difference.

SM: It really does. I’ve always said that as I get to know more people inside the horror community that it’s funny that we have the reputation of being the weirdos that’ll cut your throat. If anything, I’ve found the horror community to be the most inclusive, diverse, decent group of human beings I’ve ever met anywhere. There’s very little selfishness. Very little infighting.

MG: Absolutely. And it’s because we’ve always been the outsiders. We’ve never been the popular ones, although that may be different in the last decade or two where horror has become so mainstreamed.

SM: Yeah, it’s hotter than it’s been in a long time, maybe ever. That Masters of Horror lineup, for horror fans, was our Oscar lineup. We don’t need the big awards. Putting that many of those names together in one place was groundbreaking enough. I don’t think people realized at the time how groundbreaking it was. Do you see another incarnation of it somewhere down the road? It would be the perfect time for it.

MG: Yes! Just the fact that we did it for two seasons and it worked so well and was a big success for Showtime. That’s what tried to do with Nightmare Cinema, too. That was originally conceived as a weekly hour-long TV series anthology much like Masters of Horror. But the original concept was to do each one in a different country with a filmmaker from that country, but it was too ambitious. So, eventually what got made was a feature film that was very low-budget but had directors from all around the world – Joe Dante and I from the U.S., Ryuhei Kitamura from Japan, Alejandro Brugués from Cuba, and David Slade from the U.K. So, you felt the difference of the cultural influences on each of them, although the whole movie was shot in L.A. We hope to do a sequel and hopefully a Nightmare Cinema series that would fulfill that original idea and concept that I had. But even if that doesn’t happen, we made two seasons of Masters of Horror way against the grain of the norm. We did it, and it came out really well and here are some of these great filmmakers that did some of their best work there. It will always stand as one of my proudest achievements for sure.

SM: Oh, absolutely! And that was a different era, too, as far as how people received their entertainment. I was working at Blockbuster at the time, and we could not keep any of them on the shelf. We actually had to keep reordering the Masters of Horror DVD’s, because people would rent them and just not bring them back! We’d call them, and they’d say, “Oh, I decided to keep it. Just charge me for it.”

MG: That’s awesome. I love that!

SM: That definitely brought it into the mainstream. Getting back to the back since there’s so much stuff in there…my personal favorite in there…well, they’re all great, but my favorite has to be “Tyler’s Third Act”. Sweet baby Jesus…

MG: [laughs]

SM: It’s so methodical and brutally honest about how rough Hollywood can be on a writer’s ego and what the character goes through. I know the character’s experiences are just the writer’s experiences with the volume turned up to eleven, as they say, but how far was your personal volume turned up on that one. It’s almost like, as a writer, it’s almost an intimidating story. This poor guy is so beaten down; it sounds like the roughest industry on Earth, you know?

mick garris interview 03MG: Yeah but we are not conscripted. We choose to serve. So, there’s a lot of whining for me especially, but we choose to serve in a business that, when you make a career out of it, can pay extremely well. And to whine and moan about your lack of success or not having creative control? You have to earn that. You just have to earn that. So, this is a character who is an amplification of not just the down times that I’ve felt but those of the people around me. There are a lot of really whiny writers and screenwriters and the like because the writer has the least control over the movie as anyone until they’re really well established. It’s the producer and the studio that have all the power, and if you’re a successful director then you’re the one actually committing things to the screen. You get to tell the story the way you feel is best. If you’re a writer-director, then you’re really lucky to be able to have creative control over that. But you’re still interpreting it through a hundred people whether it’s actors, Craft Services, the director of photography, your sound mixers, your composer…all of these creative people have to meet on the same wavelength. The writer is only the first one, and he’s not involved once it starts shooting unless he’s lucky enough to have a director who’s sympathetic to having him on the set in case he needs him for on-set rewrites and the like. It’s a really great job, but you’re also at the bottom of the totem pole. You are many, many times rewritten. You know, you aren’t the most respected member of the crew that makes it. So, there’s a very long answer to your question. Yeah, it’s a little bit me there, but the volume is up to a hundred and not eleven. And it’s a lot of other things that I’ve heard from other people I know and even friends in the business. You’ll always have problems. And yet, how lucky are we to be able to work in a business where we make our living telling stories? You know, making the things that created who we are in our personalities…it’s pretty great.

SM: Yes, sir. That’s a long but gorgeous answer. Thank you. With “Tyler’s Third Act”…and I may be completely NOT on point here at all…but it really felt to me like a modern descendant of “Survivor Type”, the classic Stephen King short story from Night Shift. Was that hanging around the back of your brain at all? They just had such a similar vibe (and not just because of the self-mutilation and all).

MG: Well, all of those things park themselves in your unconscious. I was not aware of it at the time, but certainly there was a tickle in my brain. Just like I had written an episode of Amazing Stories that I had directed and written called “Life on Death Row”. It’s about a convicted murderer who is on Death Row and there’s a prison break where he’s struck by lightning, and his touch can heal. Now all these people on Death Row can be healed when he puts his hand on them.

SM: Uh-huh…

MG: So, a few years later along comes The Green Mile! It’s the same story. Years had gone by, and I mentioned to Steve that I had done that. I asked had he saw that, and he said, “You know what? I think I have!” And to be able to have influenced someone you admire as much as I do with Stephen King, you know, it’s a great feeling. Probably that had been parked in the back of his head like “Survivor Type” had been parked in the back of mine. Those injected memories are called upon by your subconscious when you’re creating.

SM: Very cool! So, with the other novella, “Snow Shadows”…man, it’s so different from the others. That obviously has to do with the setting, yes, but it stands alone as the novella that feels really different from everything else in the book. They all have things in common that are working to different ends, but where does the inspiration for something as beautiful as a ghostly romance come from in the middle of all that cannibalism and mutilation and savage murder? The tone is different, the setting is different, the whole vibe is different. It’s frankly beautiful and stands by itself in the collection.

MG: Well, thank you! That’s very important to me as they weren’t written near each other. There was a lot of time in between.

SM: Oh, wow. Okay.

MG: I realized that I had been writing a lot of smartass, first-person fiction and it had become kind of iconic to my work, that it was “Hollywood Horror” and it had a really sarcastic sense of humor and wordplay to it. I thought, “I want to write in the third person, and I don’t want it to be about the movie business this time. And I want to make it literary. I want to see if I can do a literary ghost story and express another side of my author’s personality and see if I can go to a different place”. I mean, everything that I write, even the most sarcastic stuff, there’s a lot of pain in it. There’s melancholy behind the madness. And in this I wanted to kind of dwell on a relationship that is tested, a location that is enclosed and inescapable and claustrophobic, and temptation. And I wanted to put it in a ghost story. Having a child who is so very talented that it opens him up to the opportunity to see the previously living in a way that no one else can. I was trying to mix all those elements and create something literary that wasn’t snarky and wasn’t trying to think of the most amusing twists of phrase, but what’s the most atmospheric, emotional, and melancholic language I can use to express a painful ghost story.

SM: Mission accomplished.

MG: Thank you! That means a lot to me, Stuart.

SM: Yes, sir. With the final story, “Salome”, it’s straight novel length. Are there any kind of plans for you, or has there been any interest in trying to develop that one a little further? It seems like it would be a very compelling film especially with that back and forth style of shifting between James and Chase’s perspective. Kind of like The Haunting of Hill House where you’d have a chance to make something that isn’t just straight horror but serves as a really good human drama and a marriage drama with layers to it.

MG: Yeah! It was originally written and published on its own a few years ago. Usually when I write fiction, it’s to disregard everything about film and television – all of the restrictions, the budgetary restrictions, the ratings restrictions, the mick garris interview 04idea of can you get this actor or that actor, are they expensive, are they available, what’s commercial enough to be on the big screen that people will pay for. In this case, I realized that each of them was written to be fiction and yet my main job is making films and television. So, “Salome” is definitely something that I would love to do. You know, film noir is not necessarily commercially viable these days. So, it’s not the easiest thing to set up unless a famous actor read it and fell in love with it. However, “Snow Shadows” is one I have adapted into a script called Missing Ms. Featherstone (a feature-length script). And “Tyler’s Third Act”, if there is a second Nightmare Cinema as we hope there will be, I’ve already adapted that as my story for Nightmare Cinema 2.

SM: Oh, nice!

MG: There is a script for that, so that’s the hope. And, you know, I think “Free” would be a really good movie, too.

SM: For sure.

MG: So none of them were written with the screen in mind, but now that they’re in the rearview mirror the idea of adaptation is always there.

SM: They translate very well. “Ugly”, in particular, I could see as an episode of the new Creepshow. It’s so nasty with such a sharp edge.

MG: Well, that could easily be part of another Nightmare Cinema 2 (or 3 or 4). So don’t rule that out!

SM: Alright! So, I try to learn something new every time in digging through bio and deep diving on the internet for interview prep, and I learned that you won a Writer’s Guild of America Award for Fuzzbucket [Wonderful World of Disney on ABC, 1986]?

MG: I didn’t win the award; I was nominated for it. Actually, yeah…I did win for the Best Children’s Script! You’re right.

SM: Yeah, Children’s Script. That’s right. I haven’t seen it since I was seven years old when it aired. Man, that damn thing screwed me up when I was a kid. Since you’re the one who wrote it, I’m compelled to ask: What the hell was Fuzzbucket? Was he a possum? Was he a troll? He creeped me the hell out.

MG: [laughs loudly] Fuzzbucket was an underground dwelling creature that was designed by the guy who did Freddy Krueger. Why can’t I think of his name? He’s really great…

SM: Kevin Yagher?

MG: …Yes! Kevin is really great. He was somebody I had brought in to work on it. We had talked about various designs and the idea that he was sort of a mole, sort of a possum, and sort of something that was part rat. I liked the tail. I had no idea how many kids would be completely freaked out by that little creature!

SM: Well, ‘cause he doesn’t do anything that’s bad. He’s very innocuous.

MG: He’s sweet!

mick garris interview 05SM: There’s nothing harmful about him, but he can’t help but be creepy. And then the invisible thing? My brain kept thinking, “That’s not Fuzzbucket you’re talking to. That has to be some kind of Paranormal Activity shit that you’re talking to there and not Fuzzbucket.”

MG: The whole idea was that he was an imaginary creature that, to Mikey, was not imaginary but real. It was a look into a child’s psyche during a broken marriage. Unfortunately, the broken marriage part was an off-camera voiceover that Mikey was listening to through his bedroom wall of his parents arguing. Disney made me change it in post-production to the voice saying, “Honey, I’m worried about Mikey!” rather than the end of this marriage. So that’s what drove Mikey to what seemed to be a fantasy world when it was actually real. But it is on Disney Plus, so if you have Disney Plus you can watch it.

SM: Uh-oh. I do have Disney Plus. Oh shit. I gotta get a bottle of Scotch. I might have to go back and revisit Fuzzbucket, but I think I might have to kill most of the Scotch before I do. It was weird because I grew up on horror and was unfazed by everything, but I had a couple of legitimate nightmares about that thing. I don’t know what it was. It just got inside my head and screwed with me.

MG: Well, sorry not sorry!

SM: Oh man, yeah. Don’t be sorry. That’s awesome. I can break it out on unsuspecting people and be like, “You wanna see some crazy shit you’ve never heard of? Check this out. It’s called Fuzzbucket!”

MG: It doesn’t hold up. I promise you.

SM: Unfortunately, a lot of stuff from the ‘80s does not hold nearly as well as we’d think it would.

MG: That’s for sure. And this one in particular won’t. But it is there for all the world to see.

SM: Nice! Actually, I do have one more question, if I may, though we’ve gotten through all of them. Thank you so much! What is going on with the Hollywood Horror Museum? I remember reading that you were on the board to get that Hollywood Horror Museum established.

MG: I was on the board, but one of the people in charge had some rather controversial things that he was alleged to have done that were very unpalatable. So, I and a lot of other people who were on that board decided not to continue with them. I don’t know what is going on with them now, but it’s been some years without anything happening.

SM: Oh, okay. I guess that explains not hearing anything. Well, that goes back to being careful who you associate with in Hollywood, right?

MG: Exactly, exactly! The same sort of thing happened at Fangoria when all the podcast network left because someone in the parent company was doing some unsavory things.

SM: Yes, I was close to that one. I’m here in Dallas where Cinestate is based, and that was an ugly situation.

MG: Very. That’s why my podcast has been off the air for some months, but it’s coming back very, very soon.

SM: To Blumhouse, right?

MG: No, we were at Blumhouse before Fangoria. This is going to be a brand-new podcast network that’s going to have a much wider reach than what we had with Fangoria.

SM: Oh, okay. Cool, cool! All kinds of good stuff here to finish up. Well, I got a lot more than I bargained for. Thank you very much!

MG: It was my pleasure. Thank you, Stuart! I’m glad you enjoyed the book, and I’m delighted that you’ll be reviewing it.

SM: Yes, sir! I will get a you a tag on that when it comes out. Thank you so much for your time. I appreciate everything, Mr. Garris.

MG: And mine! And I’m Mick.

SM: Alright! Thanks, Mick. Bye-bye!

Horror DNA wishes to thank Mick Garris for being so generous with his time and for just being really damn cool! You can check out the review of These Evil Things We Do here and purchase a copy from one of the links below.

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About The Author
Stuart D. Monroe
Staff Writer
Stuart D. Monroe is a man of many faces – father, husband, movie reviewer, published author of short horror, unsuccessful screenwriter (for now), rabid Clemson Tiger, Southern gentleman, and one hell of a model American who goes by the handle "Big Daddy Stu" or "Sir". He's also highly disturbed and wears that fact like a badge of honor. He is a lover of all things horror with a particular taste for the fare of the Italians and the British. He sometimes gets aroused watching the hardcore stuff, but doesn't bother worrying about whether he was a serial killer in a past life as worrying is for the weak. He was raised in the video stores of the '80s and '90s. The movie theater is his cathedral. He worships H.P. Lovecraft, Stephen King, and Clive Barker. When he writes, he listens obsessively to either classical music or the works of Goblin to stimulate the neural pathways. His favorite movie is Dawn of the Dead. His favorite book is IT. His favorite TV show is LOST.
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