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Interview: ‘Death Rituals’ Author – Josh Hancock

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This past October we here at iHorror had the privilege of catching up with horror author Josh Hancock at The Sinister Creature Con convention in Sacramento, California. Josh is not only an author but a teacher as well and his first novel, The Girls of October is a true testament to his love of all things horror. Some of Josh’s favorites are The Texas Chainsaw Massacre, The Exorcist, and the original Halloween. Back in 2016, Josh released his second novel The Devil and My Daughter, and this past fall (2017) his third novel Death Rituals released. Death Rituals doesn’t waste any time plunging into the horror and action that unfolds quite quickly creating the perfect reading storm. The format of Death Rituals will provide a thrilling experience just as The Girls of October did. Death Rituals along with Josh’s two other books are available on Amazon.

 

 

Interview With Author Josh Hancock 

iHorror: So when did the idea come to you “I am going to be an author” and the premise of your first book?

Josh Hancock: So, for The Girls of October, I always had this idea of the film student who writes a paper about John Carpenter’s Halloween. Within that paper, there would be clues to either a mystery or to her own psychosis. I just knew that I wanted there to be an essay or research paper in this book and within the paper, there would be clues to something. So it all started there, I wrote the paper first and treated it like an assignment, if I was the student in school and I was assigned to write a research paper on Halloween what would I do? After writing the paper the book just kind of formed around that paper, and I had that idea for maybe three or four years before I thought to myself, “Well I’m not getting any younger if I am going to do this let me actually try and put something down on paper.” And it took about 2 ½ years to write the book. Once it started flowing, everything came to me very quickly, I think because I had the story in my mind for so long.

iH: And that was your first book. Did you start writing your second book right after?

JH: Pretty much immediately after, it took me a couple of months…

iH: The Devil and My Daughter?

JH: Yes, The Devil and My Daughter. It took me a couple of months to outline, I always outline before I write. Of course, the finished product always deviates from the outline; I just went for it. I am a teacher, so I have summer’s off and vacations, so I have a lot of extra time to dive into the writing. The book is a little bit shorter than The Girls of October, which took me about a year to write. The third book, my new one I went right into that one, and it took me about a year and a half.  

iH: You mentioned that you are a teacher, what grade do you teach?  

JH: I teach English, and I teach high school students, they all go to a community college, so its called middle college. Middle college is now everywhere; it’s for junior and seniors in high school who just feel like they’ve done everything that there is to do at their high school. These students are receiving As’ and Bs’ in everything, but they are not connected to the clubs or the sports, they are just ready to graduate and start college early. The students will come to middle college and take English with me, and they balance out the rest of their schedule with college classes. The students will receive their diploma, which they would have anyway and they will also receive a certain amount of transferable college credits before they graduate.

iH: That is a fantastic head start!

JH: Yeah, they can get two years of college done before they even graduate from high school and it’s all free, so when parents hear about it, they get excited. I am fortunate because most of the students want to be there, this is something that they have applied to, and they have to be accepted.

iH: Sound like there is more at stake.

JH: That’s right. There is more at stake; I would say the hardest thing is to have to compete with the college classes because they like their college classes and I would like to think they like my class but mine is the required one, whereas the college classes they can take all sorts of things. I cannot complain, it is a great job, and it allows time for me to do other things that I like.

iH: Most definitely. Do the students read your books?

JH: [Chuckles] A few of them know about them, and sometimes I cannot help but mention it, I do not suggest it too much. I am a teacher who likes to write; I don’t want my students to think I am a writer who is just teaching until I get my “big break” and I am going to leave teaching behind. I love what I do; I love teaching I have been doing it almost twenty-five years, so I try not to push it too much, so it doesn’t seem as though I am there just killing time because it is hard to make a living as a writer. When I do mention it at times the students who are into horror will “get it.” I do have to be careful because I don’t think any of my books are that weird or too violent, but they are young, sixteen and seventeen, and there are some intense scenes, and because I am still a high school teacher, parents can get involved.  

iH: Yeah, the whole perception.

JH: That’s right. Whereas if I was college full time, I wouldn’t have to deal with parents at all, so I try to be a little careful. But you’re right, the students that want to find out about it, they will.

iH: What’s next for you?

JH: Well, I have a new idea I am still working out the outline, but right now it is just promoting Death Rituals. It’s a book that I care a lot about because it is about extreme haunted houses which really haven’t caught on here in Sacramento or the Bay Area but in Los Angeles, they are becoming a thing. I have done a few, but I haven’t really done one “off the charts.” There is one in San Diego that is really infamous for being really brutal, it is like eight hours long and all this crazy stuff, so I am kind of conflicted on how I feel about them on the one hand. I do think that there are some that go too far and people are getting hurt and maybe being legally abused, and I have a problem with that. The book [Death Rituals] is really about that conflict I have. My wife read the book, and part of her reaction was, “Well these girls in the book they willingly went to the extreme haunted house, they signed the waiver, so they have no right to complain about what happened to them afterward. So I don’t know if I agree with the angle of your book.” I thought that was perfect, that is the conflict that I want to exist. That is part of the argument; you sign the waiver, you knew what you were getting into, therefore what do you have to complain about. The other side of it, waiver or not some things just cross the line of decency, and that is what the book is about. I am really proud of it for that reason, it is something that was personal to me, I decided to write about it, and I think that it turned out well.  

iH: It is always those personal endeavors that make a story someone’s passion, and it just bleeds through the pages.

JH: Yeah, exactly.

iH: It is so modern. I have heard of relationships destroyed over haunts and similar experiences; someone may have been touched inappropriately, maybe something was said. I think that people are going to want to read this, especially in the horror community.

JH: Yeah, I think so. From the people that I follow on Facebook and Instagram, I follow a lot of haunts where you see people talking about these extreme haunts and the experiences that they have. I have seen a lot of posts online that reflect exactly what the characters go through in the book, and I love scrolling down and reading the arguments for and against and these are the same arguments that are put in the book. In this book I tried something different, it still is an epistolary novel, told entirely through letters, articles, interviews, photographs but I also included fictional online message boards to capture that dynamic. There is a lot of back and forth on these message boards, some people love it, other people hate it, and then there are people who fall right in the middle. Even though the online message boards in the book are made up when you read them you will feel like they are real. I hope that within the horror community the book strikes a cord. At this con, I have asked a few people if they are familiar with extreme haunts and most people don’t seem to be. But I know when I bring this book to southern California, people will recognize these haunts.

iH: Oh yeah, they have haunts that are going on year round.

JH: Again, I have done a few; I always prepare for someone to ask me “Well you wrote about it, which ones have you done?” I have done a few, and I am going to do a few more, there are a few that I do not know if I want to do. I still admire them, so I am torn. I admire the creativity and the passion and the desire to frighten people, so that is what is captured in the book, my own moral conflict over these types of events.  

iH: Well, I am sure that people are going to love it. Haunts are the “in” thing right now.  

JH: Yeah, they are popping up everywhere. I am from the Bay area I wish it would catch on out here. We have haunted houses of course but are a traditional walkthrough, and I love those. Those are well represented in the book too.

iH: The traditional walkthrough is my favorite as well. I haven’t touched the extremes yet. Well, thank you so much for speaking with me today, and I am looking forward to hearing your thoughts on the extreme haunts you plan on attending.

JH: It was my pleasure, thank you, Ryan.

        

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Thrills and Chills: Ranking ‘Radio Silence’ Films from Bloody Brilliant to Just Bloody

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Radio Silence Films

Matt Bettinelli-Olpin, Tyler Gillett, and Chad Villella are all filmmakers under the collective label called Radio Silence. Bettinelli-Olpin and Gillett are the primary directors under that moniker while Villella produces.

They have gained popularity over the past 13 years and their films have become known as having a certain Radio Silence “signature.” They are bloody, usually contain monsters, and have breakneck action sequences. Their recent film Abigail exemplifies that signature and is perhaps their best film yet. They are currently working on a reboot of John Carpenter’s Escape From New York.

We thought we would go through the list of projects they have directed and rank them from high to low. None of the movies and shorts on this list are bad, they all have their merits. These rankings from top to bottom are just ones we felt showcased their talents the best.

We didn’t include movies they produced but didn’t direct.

#1. Abigail

An update to the second film on this list, Abagail is the natural progression of Radio Silence’s love of lockdown horror. It follows in pretty much the same footsteps of Ready or Not, but manages to go one better — make it about vampires.

Abigail

#2. Ready or Not

This film put Radio Silence on the map. While not as successful at the box office as some of their other films, Ready or Not proved that the team could step outside their limited anthology space and create a fun, thrilling, and bloody adventure-length film.

Ready or Not

#3. Scream (2022)

While Scream will always be a polarizing franchise, this prequel, sequel, reboot — however you want to label it showed just how much Radio Silence knew the source material. It wasn’t lazy or cash-grabby, just a good time with legendary characters we love and new ones who grew on us.

Scream (2022)

#4 Southbound (The Way Out)

Radio Silence tosses their found footage modus operandi for this anthology film. Responsible for the bookend stories, they create a terrifying world in their segment titled The Way Out, which involves strange floating beings and some sort of time loop. It’s kind of the first time we see their work without a shaky cam. If we were to rank this entire film, it would remain at this position on the list.

Southbound

#5. V/H/S (10/31/98)

The film that started it all for Radio Silence. Or should we say the segment that started it all. Even though this isn’t feature-length what they managed to do with the time they had was very good. Their chapter was titled 10/31/98, a found-footage short involving a group of friends who crash what they think is a staged exorcism only to learn not to assume things on Halloween night.

V/H/S

#6. Scream VI

Cranking up the action, moving to the big city and letting Ghostface use a shotgun, Scream VI turned the franchise on its head. Like their first one, this film played with canon and managed to win over a lot of fans in its direction, but alienated others for coloring too far outside the lines of Wes Craven’s beloved series. If any sequel was showing how the trope was going stale it was Scream VI, but it managed to squeeze some fresh blood out of this nearly three-decade mainstay.

Scream VI

#7. Devil’s Due

Fairly underrated, this, Radio Silence’s first feature-length film, is a sampler of things they took from V/H/S. It was filmed in an omnipresent found footage style, showcasing a form of possession, and features clueless men. Since this was their first bonafide major studio job it’s a wonderful touchstone to see how far they have come with their storytelling.

Devil’s Due

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Perhaps the Scariest, Most Disturbing Series of The Year

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You may have never heard of Richard Gadd, but that will probably change after this month. His mini-series Baby Reindeer just hit Netflix and it’s a terrifying deep dive into abuse, addiction, and mental illness. What is even scarier is that it’s based on Gadd’s real-life hardships.

The crux of the story is about a man named Donny Dunn played by Gadd who wants to be a stand-up comedian, but it’s not working out so well thanks to stage fright stemming from his insecurity.

One day at his day job he meets a woman named Martha, played to unhinged perfection by Jessica Gunning, who is instantly charmed by Donny’s kindness and good looks. It doesn’t take long before she nicknames him “Baby Reindeer” and begins to relentlessly stalk him. But that is just the apex of Donny’s problems, he has his own incredibly disturbing issues.

This mini-series should come with a lot of triggers, so just be warned it is not for the faint of heart. The horrors here don’t come from blood and gore, but from physical and mental abuse that go beyond any physiological thriller you may have ever seen.

“It’s very emotionally true, obviously: I was severely stalked and severely abused,” Gadd said to People, explaining why he changed some aspects of the story. “But we wanted it to exist in the sphere of art, as well as protect the people it’s based on.”

The series has gained momentum thanks to positive word-of-mouth, and Gadd is getting used to the notoriety.

“It’s clearly struck a chord,” he told The Guardian. “I really did believe in it, but it’s taken off so quickly that I do feel a bit windswept.”

You can stream Baby Reindeer on Netflix right now.

If you or someone you know has been sexually assaulted, please contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673) or go to rainn.org.

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The Original ‘Beetlejuice’ Sequel Had an Interesting Location

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beetlejuice in Hawaii Movie

Back in the late ’80s and early ’90s sequels to hit movies weren’t as linear as they are today. It was more like “let’s re-do the situation but in a different location.” Remember Speed 2, or National Lampoon’s European Vacation? Even Aliens, as good as it is, follows a lot of the plot points of the original; people stuck on a ship, an android, a little girl in peril instead of a cat. So it makes sense that one of the most popular supernatural comedies of all time, Beetlejuice would follow the same pattern.

In 1991 Tim Burton was interested in doing a sequel to his 1988 original, it was called Beetlejuice Goes Hawaiian:

“The Deetz family moves to Hawaii to develop a resort. Construction begins, and it’s quickly discovered that the hotel will be sitting on top of an ancient burial ground. Beetlejuice comes in to save the day.”

Burton liked the script but wanted some re-writes so he asked then-hot screenwriter Daniel Waters who had just got done contributing to Heathers. He passed on the opportunity so producer David Geffen offered it to Troop Beverly Hills scribe Pamela Norris to no avail.

Eventually, Warner Bros. asked Kevin Smith to punch up Beetlejuice Goes Hawaiian, he scoffed at the idea, saying, “Didn’t we say all we needed to say in the first Beetlejuice? Must we go tropical?”

Nine years later the sequel was killed. The studio said Winona Ryder was now too old for the part and an entire re-cast needed to happen. But Burton never gave up, there were a lot of directions he wanted to take his characters, including a Disney crossover.

“We talked about lots of different things,” the director said in Entertainment Weekly. “That was early on when we were going, Beetlejuice and the Haunted MansionBeetlejuice Goes West, whatever. Lots of things came up.”

Fast-forward to 2011 when another script was pitched for a sequel. This time the writer of Burton’s Dark Shadows,  Seth Grahame-Smith was hired and he wanted to make sure the story wasn’t a cash-grabbing remake or reboot. Four years later, in 2015, a script was approved with both Ryder and Keaton saying they would return to their respective roles. In 2017 that script was revamped and then eventually shelved in 2019.

During the time the sequel script was being tossed around in Hollywood, in 2016 an artist named Alex Murillo posted what looked like one-sheets for a Beetlejuice sequel. Although they were fabricated and had no affiliation with Warner Bros. people thought they were real.

Perhaps the virality of the artwork sparked interest in a Beetlejuice sequel once again, and finally, it was confirmed in 2022 Beetlejuice 2 had a green light from a script written by Wednesday writers  Alfred Gough and Miles Millar. The star of that series Jenna Ortega signed on to the new movie with filming starting in 2023. It was also confirmed that Danny Elfman would return to do the score.

Burton and Keaton agreed that the new film titled Beetlejuice, Beetlejuice wouldn’t rely on CGI or other other forms of technology. They wanted the film to feel “handmade.” The film wrapped in November 2023.

It’s been over three decades to come up with a sequel to Beetlejuice. Hopefully, since they said aloha to Beetlejuice Goes Hawaiian there has been enough time and creativity to ensure Beetlejuice, Beetlejuice will not only honor the characters, but fans of the original.

Beetlejuice, Beetlejuice will open theatrically on September 6.

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