Here are shots from the 2010 Manchester Pride parade on Saturday 28 Aug, 2010.  A number of local celebrities attended, including Manchester lad and original Stonewall co-founder Sir Ian McKellen and members of the Coronation Street cast, celebrating the show’s 50 years on TV.

Gandalf/Magneto himself, Sir Ian McKellen

Ian McKellen leads the Parade in an open-air car, proudly hoisting the rainbow flag through his home city

Coronation Street celebrates its 50th year by heading the parade floats: Antony Cotton, Shobna Gulati

Coronation Street cast members Jennie McAlpine, Vicky Binns, Debbie Rush

Cheryl Cole, maybe in anticipation of her US X-factor debacle (!)... we still love you, our Cheryl

Councillor Mark Hackett, then Lord Mayor of Manchester, enjoys proceedings

– Olivia Mayumi Moss, Chief Editor

The cast of Lip Service, the new hotly-anticipated lesbian drama from the BBC
(photo provided courtesy of BBC)

BBC3’s new lesbian Glasgow-based drama Lip Service about a group of 20-something lesbians is coming soon, anticipated in early October 2010.  We are still waiting to hear the actual broadcast date for the first episode.

In the meantime, take a look at the BBC3 homepage for more info on the show, including some clips:
http://www.bbc.co.uk/programmes/b00tq4d9

→ Read more here about Lip Service on SJ blog

– Olivia Mayumi Moss

As one of the 4 main FrightFest organizers, Greg Day welcomed us to the Empire and kindly took some time from his hectic organizer schedule to talk to us about his involvement in the festival and this year’s highlights and challenges.

SJ: Please could you sum up FrightFest’s evolution?

It was only called FrightFest in 2000.  It started out as Shock Around the Clock, and then Fantasm held at the National Theatre.  During that period we felt it had moved too far from the roots/fan base.  Paul (McEvoy) suggested we go back to the spirit of Shock Around the Clock, so we moved to the Prince Charles as it just felt like the right location.  So, that is how FrightFest was born.  And now it’s become this monstrous 5-day epic at Empire (since 2009), and god knows where we go from here…  We’ll have 25,000 people go through the doors by the time this has finished, and that’s according to the framework of Westminster Council given to the Empire – that’s the capacity they’re allowed!  So we’ll just have to see how we’re going to cope next year, as it grows.  Maybe we’ll peak and that’ll be it – we’ll see…

SJ: What challenges have you faced this year?

There have been a few interesting challenges we’ve never had before.  One – the obvious one – would be dealing with both I Spit on Your Grave and A Serbian Film, in terms of the BBFC and Westminster Council.  In all the years of the festival, we’ve never had a film questioned by Westminster Council, so I think having two this year is an indication that we’re on the map and therefore they’re taking note of what we’re showing.  We’ve shown films much ‘worse’ than A Serbian Film in the past.

SJ: What happened to A Serbian Film and I Spit on Your Grave?

We dropped A Serbian Film, because Westminster Council needed to go to the BBFC for classification before they’d let us show it here, and we found out the BBFC wanted almost 4 minutes cut.  There was no way we could show that heavily censored version of the film, so we contacted the filmmakers, told them that the global territory the festival has sadly means we couldn’t show the film in that version, and they wholeheartedly agreed.  And, with I Spit on Your Grave, we could show it because only 40 seconds were cut, which was just the rape scene.  And, we knew that wouldn’t necessarily spoil the enjoyment of the FrightFest crowd, because they understand that.  The legislation that led to the I Spit on Your Grave remake being cut is the same legislation that still exists from the sections of the bill that relates to video nasties – and that’s interesting because we just had a discussion at the festival about video nasties culture and that whole era.

It’s been an interesting festival because the level of controversy has been very high.  We tried something new this year – I think it went down very well.  We decided to make our quiz much more slick, we got Andy Nyman to present it.  So, we might keep that.  We’ve noticed more talent, not just the directors because they always like to come with their film, but noticeable performers are turning up, wanting to be part of FrightFest.  And, that’s a good sign that they want to get part of the vibe.  Controversy this year has been a big thing.

[A further controversy was the pulling of groundbreaking director Gregg Araki’s highly-anticipated new film Kaboom, which will now premiere at London Film Festival in October]

SJ: What was the highlight of this year’s festival?

Monsters had a lot of hype…  Gareth Edwards is a classic FrightFest director – he’s young, he’s new, he works to a low budget, studios haven’t got hold of him, and we’ve helped to discover him.  He said, “Oh my god!  I can’t believe I’m at FrightFest – I’ve done it!”  A lot of these new directors in this genre feel, “If I can pass the FrightFest test, then it can’t be that bad.”

SJ: What were some highlights over the years?

Guillermo del Toro going onstage and saying, “Guys – you are the Woodstock of gore!  I was told I should have my film at the London Film Festival, but I said ‘No, I want it here.’”  Another highlight was seeing George Romero in the foyer of the Odeon West End surrounded by zombies… that was interesting.  I think that, personally, in 2006, when I finally got to go on stage with the other guys in the beginning, because I was the fourth partner that came in and was made a director, but I wasn’t the fourth musketeer.  I got a huge round of applause.  And then, I thought, “Oh my god, that was amazing!” because I realised they had always seen me as part of the family.  I had just never seen myself as that until that moment…

FrightFest organizers: Paul McEvoy, Greg Day, Ian Rattray, Alan Jones

SJ: What would you say to people who haven’t been to the festival before?

I’d say this is a film festival for people who love film, so not people who love horror.  And, even if you see one film, there’ll always be one film you’d want to see here even if you’re not a fan of horror.  So, I would say, “Come to FrightFest, because it’s more than just a film festival.”

SJ: What advice would you give to people who want to make films and screen their work at FrightFest?

We have a submissions form on our website and we get a lot of films, not just short films but feature films.  So, we would encourage people to just reach out, because the horror fraternity is a very important one.  Reach out – get to know likeminded people.  The way that horror films are made is often through collaborations.  If you’re the director, find yourself a writer, if you’re the writer/director find yourself a producer, if you’re the writer/director/producer find yourself a publicist.  Work within the community.  It’s out there and quite easy to access now because of the Internet.  So, that would be my advice, don’t try and do it alone, because that’s much harder.

SJ: Anything in the pipeline for next year’s FrightFest?

I can’t say what films.  But, we have got one film – we’re hoping we can get Human Centipede 2, but it depends…  Sometimes what happens is filmmakers say “Of course we’ll give you that film” and in their hearts they want to, but the film has distributors who have the say over which film festivals it screens.  It could just be the timing is wrong – they might just want to release Human Centipede 2 quite quickly – so a lot of it is timing.  But, we’ll certainly carry on with the Discovery Screen – we might even have a third screen, because we found this year that loads of people wanted to see films like Burning Bright and After.Life, so we could step up to a 300-seater.  So, we could have 100 seaters for films that are real discoveries or which perhaps don’t have not so much buzz or attraction on the surface, and then we can have the 300-seater.  So “discovery” and then “discovered, but not as popular as…”  The main screen isn’t about those films being better, it’s about the menu in the main screen being a mixture of so many different kind of things…

- Tom Dennett-Cook

SHATTERJAPAN managed to swing an exclusive interview with Tobe Hooper, director of The Texas Chain Saw Massacre, Salem’s Lot and Poltergeist, following his Total Icon Award Q&A at FrightFest.  It was a great privilege and once-in-a-lifetime experience, especially since it was the first visit Hooper had made to the UK in 18 years!!

SJ: How have you been enjoying FrightFest so far?

FrightFest is great!  Totally love it.  Absolutely!

SJ: It’s been 18 years since you’ve been here – why so long?

I go where they tell me to go!  I don’t know, it’s been way too long… it flew by.  London is my favourite place and I’m trying to catch up on it.  And, I’m trying to have all the good English breakfasts that I can, and I can’t wait for that Shepherd’s pie!

SJ: So, how does it feel to be a ‘Total Icon’ – the first ‘Total Icon’?

Oh well, it feels pretty good!

SJ: You’ve had quite a varied career… Someone asked in your Q&A if you were still passionate about your work, but have you had highs and lows, and what would they be?

Oh god, what would they be…  It’s been a rollercoaster ride, and thank god that every time the art goes down, it’s high enough to go back up again.  And, I am still passionate – very passionate.

SJ: There have been a lot of remakes of 1970s horror classics, such as The Texas Chain Saw Massacre, I Spit on Your Grave, The Hills Have Eyes, and so on. Why do you think this is happening?

It’s money… it’s money…  It’s about remaking things that have proven to work, they showcase young and new actors, and the market is open.  People go and see them, they buy the tickets…

SJ: A lot of those 70s originals became cult classics, but do you think remakes should be taken as ‘recognition’ of the classics, or rather just a  ‘recycling’ of somebody else’s ideas?

Well, they’ve started calling them ‘reimaginings’ – but it is ‘remaking’ and ‘reimagining.’  I guess it’s inevitable…  I mean, Hitchcock remade his films several times, [Jonathan] Demme has done it…  It is an opportunity to take something proven to work which has a franchise ability attached to it.  And, they’ll be looking for it until they stop making money.

SJ: So, it’s primarily about making money?

It’s about money….

SJ: On a different topic, a common observation about horror has been the treatment of women and the role that women play. And, recently there have been more female directors and female input in the industry. How do you feel the role of women in recent horror has developed?

You know, I can only speak really for my films.  You know my films – Sally in Chainsaw, she more than survives.  My position on this is women are extremely strong and can beat the shit out of all us guys you know?  And that’s nature – that’s been from Cleopatra and further back…

SJ: And, in terms of women in the industry in general, are there any directors you have noticed or you’re interested in?

Kathryn Bigelow.  Yeah, there’s some really talent, and thank god women are finally getting the opportunity!  There are so many others [who deserve recognition]…

SJ: I understand at the moment you have a new film in preproduction, From a Buick 8.  Is there anything you can tell us about it?

Buick 8 is on again off again and most likely very soon something is going to happen before…  I have this confidentiality agreement, but I can tell you I’m really looking forward to it – it’s really going to be cool, something extremely different.

SJ: Finally, do you have any advice for any up-and-coming filmmakers on how to get started and get recognised for their art?

Did you say the word “art”…?  Thank god [you said the word “art”]!  [My advice is] try to be original.  Hopefully your first film won’t be so bleached that it’s like a 96-yard run (American Football term).  Be true to yourself.  And, do it, for god’s sake!  Treat cinema like the “art” and with the potential that cinema has.  Coppola spoke of this years ago, but with cinema you have a ‘way,’ and I mean it’s a ‘science,’ it’s an ‘alchemy’ and it’s ‘magic.’  You can really do a lot with good cinema.  I think good cinema gets noticed and will be noticed, and it’s harder to get that done…

- Tom Dennett-Cook

I caught up with Kane Hodder at FrightFest just before the screening of Hatchet II, sequel to slasher classic Hatchet, in which he plays the terrifying Victor Crowley.  American actor-stuntman Hodder is known worldwide for his role as “Jason” in the Friday the 13th series.

SJ:    Is this your first time at FrightFest?

It is.  I’ve always heard about it – I’ve always wanted to come, and I was finally able to.

SJ:    What do you think about the FrightFest crowds

It’s great!  I want to see how they’re going to react to the movie – I’m sure it’s going to be good…

SJ:    So, what can we expect from Hatchel II?

Well, all I can say is: In the first movie, I kill 8 people; in this one, I kill 17.  So, a lot more violence and a lot more Mr. Crowley too – which is good for me!!

SJ:    Would you consider another sequel, Hatchet III?

I would.  We know there is only one survivor in Hatchet II…

- Tom Dennett-Cook

FrightFest organizers: Paul McEvoy, Greg Day, Ian Rattray, Alan Jones

For those not familiar with FrightFest, it is the UK’s premiere festival for all films ‘horror.’  Having gone through several transformations, including ‘Shock around the Clock,’ the festival is celebrating its 11^th year under its current title.  With its sponsor Film4 drawing attention to the event, success has resulted in this once small-time festival outgrowing its spiritual roots at the Prince Charles Cinema and making its current home the larger Empire Cinema, off Leicester square.  Past highlights include 2007 when the Square was overrun with fans in zombie attire, and a particularly favourite cited by the organizers was when director Guillermo del Toro famously chose to premiere Pan’s Labyrinth at FrightFest over the London Film Festival, declaring the smaller festival “the Woodstock of gore.”  The screened films are as broad as the genre itself, embracing such sub-genres as ‘torture porn’ and ‘splatstick,’ in addition to the more traditional psychological thrillers and documentaries, etc.  As the festival has grown, so has its international influence, with more European and Asian input than ever.

This year saw its fair share of ‘firsts.’  The festival’s rise in global interest has seen more stars wanting to get in on the act, notably Steven Berkoff for the screening of Dead Cert.  Attending as a member of the Hatchet II team, Kane Hodder (famous for his role as Jason in four of the Friday 13^th series) spoke of his delight in experiencing FrightFest: “I’ve always heard about it – I’ve always wanted to come, and I was finally able to.”  2010 also saw a debut appearance by American all-rounder Eli Roth, attending the European premiere of The Last Exorcism as the film’s producer.  In another exciting development, FrightFest and Total Film combined forces to create the Total Icon Award to celebrate the careers of horror legends, presented this year to American director Tobe Hooper (Texas Chain Saw Massacre, Salem’s Lot, Poltergeist) who made his first trip to the UK in 18 years to collect the award.

Hatchet II cast/crew: Tony Todd, Danielle Harris, director Adam Green, Kane Hodder; Danielle Harris (Halloween series) close up

Hatchet and Hatchet II director Adam Green

Tony Todd, “Candyman”

Kane Hodder, “Jason”

But, 2010 also attracted some unwanted ‘firsts.’  Censorship and controversy haunted this year’s proceedings.  FrightFest has never experienced the wrath of either the BBFC or Westminster Council, so it was unusual that two films were under scrutiny this year.  The remake of I Spit on Your Grave attracted obvious attention for its rape screen, although only 40 seconds were cut.  The same cannot be said for The Serbian Film – late intervention from Westminster Council and the BBFC resulted in a substantial 4 minutes needing to be cut.  Ultimately, the decision was made to drop it since the film’s creators and festival organisers agreed that it would degrade the film and its audience to be shown in the cut form.  Curiously, this all took place alongside the festival’s documentary piece Video Nasties: Moral Panic, Censorship and Videotape. It is a rather strange state of affairs that the same legislation that condemned the original I Spit on Your Grave lives on to plague the remake in the supposedly advanced Britain of 2010.

I was able to attend 7 films and it must be said that this year was impressive, but I enjoyed the opening day the most.  Having previously impressed FrightFest crowds with the original Hatchet, director Adam Green took audiences back to the haunted swamps of deranged serial killer Victor Crowley with more deaths and laughs in its sequel Hatchet II.  This was followed by the bizarre yet brilliant Australian effort Primal, which played on the theme of infection that has become so prevalent since UK smash 28 Days Later, but with laughably realistic panic from those in danger.  The day finished with British vampire film Dead Cert taking on the task of trying to incorporate Dracula into the world of contemporary London gangsters.

On the second day, a showing of The Texas Chainsaw Massacre graced the screen prior to the Total Icon Award Q+A with Tobe Hooper.  But, forever etched into cinematic memory would be Japan’s comedic Alien vs. Ninja, which was not only surprising for its impressive fight screens but also for its provocative humour.

Unusually for a festival so previously laced with zombie fandom, 2010 saw only one zombie film.  Boasting some beautiful scenery, The Dead tells the story of two men attempting to flee an outbreak in Africa.  The festival closed with the showing of US hit The Last Exorcism.  Obviously living in the shadow of The Exorcist, The Last Exorcism manages to hold its own through documentary-style shooting and dry humour.  However, the film that touched me the most was the South Korean Bedevilled, which through its cautionary tale of a woman abused to the point of madness, creates an atmosphere of true awkwardness and despair.

I have found that FrightFest has grown and matured over the years, to the point where it can stand tall and proud next to more established film festivals.  It has moved from arguably a British celebration of international horror to receiving true international acclaim.  The FrightFest crowd has a family atmosphere, as fans exchange banter and share their love of all things ‘horror.’  There is a passion here that goes beyond academic or artistic appreciation or industry-driven goals: horror fandom as a lifestyle.  The variation of films in quality, themes and countries of origin is testament to the festival’s growing presence on the world stage, evidenced in the appearance of such big Hollywood names as Eli Roth.  The excellent launch of the Total Icon Award is also a sign of great things to come.  This festival shows no cracks or signs of failing, but rather a continuous growth from strength to strength.

People are often put off from horror.  Many may feel it’s a tainted genre or not to their taste.  To these people, I would say: don’t assume that FrightFest is not for you, for it is first and foremost a film festival and a horror festival second.  The styles, techniques, and subject matters of many of the films will be familiar to audiences across the spectrum.  Even if horror is not your ‘cup of tea,’ there are plenty of films to choose from that fall under the vague and often misunderstood banner of ‘Horror.’  FrightFest celebrates this varied community and invites both the converted and the uninitiated to explore the wonders of the dark side of cinema.

SJ reporter Tom with the inimitable Kane Hodder

- Tom Dennett-Cook

The Brits were out in force at this years’ Edinburgh International Film Festival, with a vast array of films, new and old, including the After The Wave discussion event, a fascinating retrospective of a forgotten era of British Cinema.  I really enjoyed getting over our Saturday morning hangover with the 11am screening of the Boy Who Turned Yellow, the final film by the impressive duo Pressburger and Powell made for the Children’s Film Foundation in 1972…

There were also some cracking panels and industry events, including a Variety Interview with London born and bred Graham King, offering a fascinating insight into one of the biggest producers in Hollywood.

Other events I would have liked to have gone to were the 80^th birthday celebratory screening of  classic The Man Who Would be King in honour of festival patron Sir Sean Connery, closing night film Third Star by Hattie Dalton and also the Birds Eye View The Bigelow Effect women filmmaker panel discussion.  But, you can’t fit everything in at a festival!!

EIFF really pulled out all the stops this year and so SHATTERJAPAN sends a big “Thank You” to all the organizers and volunteers who made this a most enjoyable, informative and inspiring experience.

- Michelle Mangan