Greetings, monster lovers! This is the place where I will be hanging out and sharing random thoughts as they enter the swirling miasma known as my cranium. I wanted to take a moment and say that I really appreciate all the great comments as well as the "offline" emails that you have sent me so far in support of MONSTER MAGAZINE WORLD. I am really blown away that you all have responded in such a positive manner in the very short time that I've been doing this. It only furthers my belief that monsters can indeed be your very best friends!

On another note, my pal, Doug, is currrently chasing down the hoodoo in the moss-shrouded environs of Nooawlins, Loosiana. He's already been on a "voodoo tour" and has seen the several sites where the legendary Voodoo Queen Marie LaVeau is thought to be buried. Just in case, I've posted an ad for an "authentic" Haitian voodoo kit (see sidebar). I hope you don't need it, bud!

Well, that's all for now. Thanks again for all your support. I'll keep trying to entertain, enlighten, and maybe once in a while even amaze with my vault of goodies here in the MYSTERIOUS MANSION.

THE LITTLE SHOPPE OF HORRORS SHOP

Before we move on to other monster 'zine titles, I thought it would be helpful to those who are interested and post the pages of the flyer I received a few weeks ago from LITTLE SHOPPE OF HORRORS. It's a complete list of available titles, including the current edition and back issues, many of which have not been in print for a long time. You can also shop at the website (the link is found on the sidebar to the right of this post). If you've never tried LSoH I can't recommend it highly enough. It is one of the premier monster mag titles still being published.

BELA LUGOSI'S TALES FROM THE GRAVE UPDATE

According to the ad pictured to the left, we'll be seeing BELA LUGOSI'S TALES FROM THE GRAVE this fall. Creator Kerry Gammill is attending the FAMOUS MONSTERS OF FILMLAND CONVENTION (unfortunately, MONSTER MAGAZINE WORLD will only be there in "spirit") and I'm sure he'll be spending a good portion of his time crankin' up the buzz. Best of luck, Kerry. Judging from the excellent ad artwork, I'm fully expecting this to be a monsterkid's comic book dream come true . . . and may even give the resurrected CREEPY comic book series from Dark Horse a run for it's money. Capitalism, competition and a free market in the monster comic industry -- amazing!

A LITTLE TALK OF HORRORS (PART 3)

We continue with the final installment of the MONSTER MAGAZINE WORLD interview with Richard Klemensen, Editor and Publisher of LITTLE SHOPPE OF HORRORS. He discusses what it's like to keep publishing his labor of love against all odds and reveals the many HAMMER STUDIOS luminaries that he has met over the years. I want to thank you again, Dick, for providing the photos from his private collection. They were a rare treat for me and I'm sure the readers of MONSTER MAGAZINE WORLD will appreciate them as well.

MONSTER MOVIE WORLD: I see that a few British monster mags, including Dark Side, have folded. Is there a declining readership for monster ‘zines in Great Britain? Matter of fact, things are tough these days for small press publishers. Where you one of those that got dropped from the Diamond Distributors catalogue or are you hanging on?



DICK KLEMENSEN: There is a declining readership for monster zines everywhere I’m sorry to say. LSoH was a victim of the Diamond Comic Distributors dropping many genre zines last year. I’m lucky because I have a solid base of subscribers, and I’ve been pushing my mag more on-line (my website has saved the magazine. It is designed and kept up by my oldest son (42 – hard to believe), Tom, who is a real computer whiz, and will shortly have his college degree in various computer areas. Good kid, too.


Anyway, if you are hoping to make a living off publishing about monsters and fantasy, with all the competition that the free internet now offers – good luck!


What is funny is that just over a year before Diamond dropped LSoH, our issue #19 was voted one of the 10 best media magazines of that year, by Diamond’s on line web magazine. Quality has nothing to do with it, only that there is a limited audience for ancient British horror flicks. LSoH, through Hemlock books, the Cinema Store and FAB Press, sells very well in England and the United Kingdom. It also hurt when Tower Books and Records bit the dust. They were our largest distributor and many fans discovered us for the first time on their shelves. But we muddle on into another decade.


MMW: You devoted an entire issue of LSoH recently to Amicus Films. What do you think of the quality of their films as compared to Hammer? Do they hold up as well or better?


KLEMENSEN: Amicus vs. Hammer? Well, Hammer all the way. I like Amicus films, but always found them too mild compared to Hammer. But I liked what Milton Subotsky did with his imagination and the company, and knowing that my pal Phil (“Phil-bert”) Nutman had been researching the company since 1984, I kept on him that if he couldn’t get a book out on Amicus, we’d turn over a whole issue of LSoH to the subject (well I didn’t expect it to take up the whole issue. But it worked out that way. We could easily have done another 20-30,000 words).


MMW: What can you tell us about the newly resurrected Hammer Studios? Will you be covering any production news in a future issue?


KLEMENSEN: The new Hammer? I wish them well, but from what I’ve read of their films, they seem to mirror just what is current now (which really isn’t that different than Sir James Carreras of the old Hammer – “give me another one like the last one that made money!”) We will have updates on their projects in our Hammer news section, from Robert JE Simpson, who is involved with the new Hammer. But don’t look for anything too in-depth. Our future issues are the old Hammer and older British horror and fantasy.


I DO like the idea that there still is a Hammer. But what we loved about Hammer can never be recreated again, only remembered with affection. The fact that Bray Studios will be torn down soon, and have housing put up on the old back lot tells you a lot about what has happened to the British Film Industry.


MMW: Over the years, have you personally met any of the famous directors and stars of British horror films?


KLEMENSEN: I’ve met many of the people involved with Hammer. Producers Michael Carreras and Anthony Hinds. Brian Lawrence (long-time business manager and once-owner of Hammer, he told me in 1994 that I was part of Hammer, which made me feel terrific), Kenneth Hyman, Terence Fisher, Michael Ripper, Ingrid Pitt, Suzan Farmer (a very close and dear friend), Hazel Court, Veronica Carlson, Yutte Stensgaard, Freddie Francis, Jimmy Sangster, Hugh and Pauline Harlow, Christopher Lee (briefly), Damien Thomas, Ralph Bates, David Prowse, Francis Matthews, Andree Melly, Oscar Quitak, Yvonne Monlaur, Julie Ege, Eddie Powell, John Hough, Edward de Souza, Roy Skeggs, Harry Robinson, Philip Martell, James Bernard (went to Disneyland with him and friends), Frank Godwin, Barbara Shelley, Len Harris, Roy Ashton, Phil Leakey, Val Guest….well, the list could go on and on. I’ve been to Bray Studios several times, as well as Pinewood Studios, Shepperton Studios and Elstree Studios. I’ve really lived a Hammer fans’ dream.


MMW: HORROR OF DRACULA or CURSE OF FRANKENSTEIN?


KLEMENSEN: HORROR OF DRACULA flat out. THE CURSE OF FRANKENSTEIN started it all, but HoD works without missing a beat. My favorite Hammer film is THE BRIDES OF DRACULA, but HORROR OF DRACULA is probably the greatest Hammer film!


MMW: If you could wave a magic wand and do anything with LITTLE SHOPPE OF HORRORS that you wanted, what would it be?


KLEMENSEN: Do anything with LSoH? Quit my job; find some sugar daddy to underwrite the mag to go four times a year, with the interior loaded with color. Discover the hidden/lost/production files and pre 1961 photos of Hammer and Bray Studios, to recreate ‘making of’ articles on more of the classic Hammer horrors. Try to cover as many films and people as I can before they all have passed away (and I’m not too far off from joining them myself!)


MMW: Any words of wisdom for the aspiring monster magazine maker?


KLEMENSEN: Starting a monster mag now? Good luck!! You need to find a particular niche – the general interest horror zine has a tough road to hoe. I wonder how the resurrection of FAMOUS MONSTERS OF FILMLAND will go. Know that getting on-shelf distribution is probably impossible (the big distributors like Ingrams and PDI rape the small publishers – stay away from them. And you will have trouble now getting in with Diamond.), you need to advertise and establish a subscriber base. A viable and easy to navigate web-site. And the few specialty shops that are still around, give them a good deal so they take the magazine. You might not make much money out of those, but it will get the name out and create subscribers and buyers for back issues (if you get that far along!) You CAN consider just being a web-zine. But I’m too old-school, paper oriented, for that.


MMW: And lastly, who is Elmer Valo [Klemensen dedicates his magazine to this mysterious person]?


KLEMENSEN: Elmer Valo was a major league baseball player from the 1950s to the 1960s. I was always impressed with him because he lasted 20 years without any appreciable talent, and hardly ever being a starter. He pinch hit for the Minnesota Twins among others. He had about the same amount of at-bats in 20 years that Pete Rose has career hits! Elmer stuck with it, and LSoH is kind of like that. With all our ups-and-downs we have stuck with it. I’d love to win a Rondo Award for best ‘zine, but I know in my heart it isn’t going to happen. Our readership is too small to compete against class ‘zines like RUE MORGUE, VIDEO WATCHDOG, SCARY MONSTERS, MONSTERS FROM THE VAULT, etc. [Editor's Note: Add "humble" to Dick's list of personal virtues! I'm sure that anyone would agree that LITTLE SHOPPE OF HORRORS is right up there with the aforementioned 'zines!]

Thank you Richard Klemensen!

1984 - Colin Cowie and Dick Klemensen outside the French doors entering in the back of the main house at Bray Studios

1999 - in the home of Bernard Robinson, the great Hammer set designer - note the wallpaper! - with Colin Cowie, long time LSoH contributor and Robinson's wife, Margaret Robinson (who worked at Hammer on HOUND OF THE BASKERVILLES, THE MUMMY & THE BRIDES OF DRACULA)

1977 - London, with Damien Thomas of TWINS OF EVIL/ Count Karnstein

1977- at Hammer House on the Pinewood Studio lot, with Hammer owner Michael Carreras

Dick Klemensen with director Peter Graham Scott (NIGHT CREATURES/CAPTAIN CLEGG) Bray Studios, 1999

1984- Outside the Oakley Court, across the lawn from Bray Studios, and was used in many a Hammer film like THE CURSE OF FRANKENSTEIN, THE REPTILE, PLAGUE OF THE ZOMBIES, etc.

Talking with my dear friend, Veronica Carlson. That is her son and her sister on the left. Bray Studios, 1999. Have met and spent time with Veronica many times over the years

With Virginia Wetherell (actress in DEMONS OF THE MIND & DR. JEKYLL AND SISTER HYDE. Wife of actor Ralph Bates)

Two shots of lunchs with Suzan Farmer, a very very close friend. In the one where we are holding hands, it is the same Italian restaurant she used to go to with Ralph Bates while they were shooting a Tyburn film together, in 1973.

At the home of Hammer music composer, Harry Robinson, 1984 (THE VAMPIRE LOVERS, LUST FOR A VAMPIRE, COUNTESS DRACULA, TWINS OF EVIL, DEMONS OF THE MIND)

With Barbara Shelley at a Fanex convention.

MY FIRST MONSTER MAGAZINE

Readers who regularly visit MONSTER MAGAZINE WORLD will know that a short while ago I posted a  retrospect of Stan Lee's MONSTERS TO LAUGH WITH No. 1. My main reason for doing this is because it was the very first "monster magazine" that I ever bought. I was nine years old at the time and, as I believe I mentioned, the most likely reason that I was even allowed to purchase it was because it was marketed more as a "funny book" than a monster 'zine. Besides, my parents were busy in getting us moved out to the San Fernando Valley from my birth town of Torrance, California by the summer. What were a few monster pics with ridiculous word balloons coming out of them? Heh, heh! Little did they know . . .

Now, before you think I've gone all self-indulgent on you, I wanted to share a little bit of the back story behind this for a reason. I believe that many of YOU had similar experiences surrounding the purchase of your first monster mag, too. If that's the case and you feel inclined to share it, I'd love to hear from you. Wax nostalgic, share the feelings you had, or anything else that you think is funny, memorable, or entertaining. If you decide to respond, please use the email address found in the "About Me" profile at the top of this blog's sidebar by clicking on the "VIEW MY COMPLETE PROFILE" option. I wouldn't mind having a first name at least, or your "alias", and your home town. Include anything you'd like that's related to the purchase of your first monster mag. As time, space, and appropriateness permits, I will post your tales right here for the world to see at the MONSTER MAGAZINE WORLD BlogSpot. Don't be bashful now, become a part of the MMW community and start writing!

FANGORIA 294

FANGORIA
No. 294
Editor: Chris Alexander
Publication Date: June 2010
Publisher: The Brooklyn Company, Inc.
Color covers/Full color interior
84 ppg. (including covers)
Cover price: $8.99

I must admit I have a certain reflexive response when I pick up a copy of FANGO for purchase. In all honesty, the response is not always entirely positive. And, while I am not exactly a wimp when it comes to viewing (fake) flayed flesh and evisceration, it still makes me want to ask the question: "What's the point?" True, blood and gore have, for many years, been the hallmark of FANGO, even to the point where its very identity relies upon it. Consequently, when you consider the foregoing, one has to say that FANGORIA has discovered the winning combination with which to satisfy their target audience. The magazine's longevity and success is proof of this fact. Let me also be fair by saying that my expectation in a monster mag is not limited to gothic shadows and the Val Lewton school of "quiet horror" when it comes to visual content. Indeed, by its very nature, the topic of monsters and horror films is meant to shock, terrify, and act as catharsis (some would even go so far as to say, therapeutic as well, and I couldn't really disagree).

Issue #294, the subject of this post, does not shy from FANGO's modus operandi. For instance, page 27 gives us a near half-page, full-color shot of Kat Turner in ALL ABOUT EVIL, who is in obvious distress. Why, you might ask? Because she has a good portion of both breasts shorn off! A nice two-page spread on pages 48 and 49 shows a chest cavity clamped open with the (apparently) still beating heart in full view. The movie? "Inspired" by Edgar Allan Poe, it's called TELL TALE. We also are treated to another half-page, full-color photo of a severed tongue being removed from a bound victim's mouth. I could go on, but I think you get the idea. I will say, if this is the type of stuff that floats your boat, then FANGO is your pleasure cruise.

Oh, and I almost forgot to mention that sandwiched between pages of gratuitous bloodshed and carnage were rock-solidly written articles and reviews. There was an informative on-the-set piece on the newly-released SPLICE, a review of Jess Franco's latest movie offering, and another installment of "Diary of the Deb", actress Debbie Rochon's ongoing journal of her filmwork -- all very well written. The 'zine is ablaze with color and luridness, and like driving by a car crash on the freeway, it's difficult not to slow down and look.

You might have guessed by now that I am not a huge fan of gore and splatter films. I will watch them, but I am very discriminating. However, FANGORIA is a stalwart in the monster magazine market, and legions of fans still flock to its pages for their regular share of the kinds of things that zombies like to eat. You've got to admit that any magazine that calls their special issues "The Bloody Best" is not kidding around. In this respect, the folks at FANGORIA are experts. Accordingly, I await in palpitating anticipation for issue 295.

A LITTLE TALK OF HORRORS (PART 2)

We continue now with the MONSTER MAGAZINE WORLD interview with Richard Klemensen, Editor and Publisher of LITTLE SHOPPE OF HORRORS.

MONSTER MOVIE WORLD: What is your role as editor and publisher? Do you “roll up your sleeves” and write, or do you act mainly as “producer”?

DICK KLEMENSEN: My role as editor is to find the right people for a particular subject. My main guideline to writers (and my writers are particularly skilled) is “NO SYNOPSIS”. We aren’t in the filmbook school anymore, and it is unlikely our readers wouldn’t know the basic story of, say, THE VAMPIRE LOVERS. I edit very little because I am firm up front what we are looking for in the article and features. And as most of my contributors have been doing it for a long time, we have is scoped out before hand so there are few shocks when I get the articles or interviews.

 I seldom write except the fanzine/book review and my own editorial. Most of the nuts-and-bolts of publishing and distributing falls on my shoulders so if I had to also write very much, you would see an issue about once a decade (I hold down a full-time job in sales that can run 5/6 days a week, so I mainly work on the magazine on weekends while my wife is working as a surgical nurse at a local hospital).

 What also helps is my sister, Kristine Mraz, is a skilled designer who gets better and better each issue. She works for the print company that has done LSoH since 1980 and is able to translate my roughs into what I think is a very stylishly designed magazine, working with a LOT of text and visuals and still making it look good. We aren’t RUE MORGUE or VIDEO WATCHDOG or MONSTERS FROM THE VAULT, but the mag looks great, and reads well. And that is my goal now.

 MMW: How many hours would you say goes into each issue of LSofH?

 KLEMENSEN: Hard to say how many hours, as I’ll be juggling two/three issues ahead while working on the current one. I’m getting #24 mailed out now, while readying materials for Halloween’s #25, and next years’ HANDS OF THE RIPPER in the spring and FEARLESS VAMPIRE KILLERS/DANCE OF THE VAMPIRE for Halloween 2011. It’s in the hundreds of hours for each issue. Last Saturday, I spent almost 16 hours doing paperwork and preparing mailings for #24 (which is also that we have reintroduced all our previously out-of-print issues through a print-on-demand company, and my sister has restored those ancient issues to programs so that they can now be reprinted. The reaction and demand has been good).

 MMW: Who designs the magazine and what type of technologies do you use in its production (computer, software, pre-press, etc.)?

 KLEMENSEN: I do the design in very basic roughs, with the scans of the photos, artwork, etc. Then I turn it over to my sister, Kris, and using InDesign, she composes it on her laptop. She has been doing this since #10/11 in 1990 (and worked on the old cut-and-paste issues with me, going back to 1979. I’ve got a great sister. Don’t pay her what she is worth!) The magazine is then printed (at least the interior) by Allen Printing of Clarion, Iowa. The covers, because we use very good color cover artwork (by such talents as Steve Karchin, Jeff Preston, Bruce Timm, Mark Maddox, Frank Dietz, Norman Bryn, Mike Schneider, Adrian Salmon, Neil Vokes, etc), is printed by a specialty company, U.S. Press of Valdosta, Georgia.

 MMW: Peter Cushing or Christopher Lee?

 KLEMENSEN: Peter Cushing for his fantastic acting ability; Christopher Lee for his amazing presence. You aren’t getting me to fall into THAT trap!!

(To be continued . . . )

Yvonne Monlaur and Dick Klemensen, Bray Studios 1999

Julie Ege (CREATURES THE WORLD FORGOT, LEGEND OF THE 7 GOLDEN VAMPIRES) and Dick Klemensen, Bray Studios 1999

With Judy Geeson (FEAR IN THE NIGHT) Dick Klemensen and actress Terence O'Connor (wife of Hammer star, Christopher Neame - DRACULA A.D. 1972)

Dick Klemensen, Andree Melly (BRIDES OF DRACULA) and her husband, Oscar Quitak (REVENGE OF FRANKENSTEIN), Bray Studios 1999

Dick Klemensen alongside the Bray Studios sign, 1999

Cover mock-up

Finished cover

Pre-press cover

Cover mock-up

HAPPY SUMMER . . . HAVE FUN IN THE POOL!

HAPPY FATHER'S DAY!

MONSTERS FROM THE VAULT #27: SNEAK PEEK!

MONSTERS FROM THE VAULT'S latest issue is almost here! It will be released during the MONSTER BASH CONVENTION that runs this June 25 through 27 in Butler, PA. MONSTER MAGAZINE WORLD will not be in attendance ... maybe next year? You can order your copy by following the cover image link found on the banner to the right of this blog. Below are a couple of sample pages courtesy of Mr. Jim Clatterbaugh, esteemed editor and publisher of MONSTERS FROM THE VAULT. Thanks, Jim, and congratulations on the latest release! And if that's not enough to get your ticker jump-started, look for an exclusive MONSTER MAGAZINE WORLD interview with Mr. Clatterbaugh right here in a future post!

http://www.monsterbashnews.com/bash.html

MONSTER BASH 2010 TRAILER

AL WILLIAMSON (MARCH 21, 1931 - JUNE 13, 2010)

MONSTER MAGAZINE WORLD is saddened to hear that the world has lost yet another extremely gifted and talented draughtsman. Al Williamson passed away on June 13 in New York (actual dates of death are currently varying over the internet, but I'm going with LOCUS ONLINE'S information) from complications of Alzheimer's Disease.

Mr. Williamson is, of course, best known to us monster magazine fans as an early contributor to Jim Warren's CREEPY and EERIE comic magazines. His career in illustration began at an early age and he contributed to some of the most legendary comics (EC Comics) and drew some of the most legendary characters (Flash Gordon) in history. He also collaborated with other luminaries in his field such as Frank Frazetta, Roy Krenkel, and Angelo Torres. He helped Berni Wrightson and Mike Kaluta early in their careers. His work was sought after by many other publishers over the years and, fortunately for us, he leaves a sizable body of work. Rest In Peace, Al Williamson.

A LITTLE TALK OF HORRORS (PART 1)

AN INTERVIEW WITH RICHARD KLEMENSEN, EDITOR & PUBLISHER OF LITTLE SHOPPE OF HORRORS

For nearly 40 (that’s four-oh, kids) years, LITTLE SHOPPE OF HORRORS has been serving up heaping helpings of Hammer Horror to rabid readers all over the globe. Other ‘zines that are currently active and publishing that can hold even a flickering candle to this stunning achievement I can count on . . . say, one finger. If anybody were to get picky and scrutinize the erratic release schedule, this is still one amazing accomplishment, folks. Helmed by the venerable and sagacious Richard Klemensen, LITTLE SHOPPE OF HORRORS has the distinct honor of continuing its role as the sole American genre magazine that covers pretty much exclusively the British horror film. While a recent issue had cover-to-cover coverage of Amicus Films, by and large LITTLE SHOPPE OF HORRORS focuses on Hammer Films. And, why not? Every issue is packed to the staples with text and photos as if there were never enough to say about CURSE OF FRANKENTSTEIN, HORROR OF DRACULA, or, in its most recent issue, BLOOD FROM THE MUMMY’S TOMB.


Dick Klemensen was an absolute prince in offering to answer candidly a number of questions regarding not only his publication, but the health and future of monster ‘zines in general. He was also supremely gracious in sharing a ton of photos that I will be posting throughout this MONSTER MAGAZINE WORLD interview series. Now, without further ado, I present the interview!


MONSTER MAGAZINE WORLD: What was the inspiration behind you creating a U.S.-published movie monster magazine that covers only British horror films? What year did you first start publishing?


DICK KLEMENSEN: I started publishing LITTLE SHOPPE OF HORRORS in 1972. The first issue appeared in June of that year. I had just been discharged from the Army in January and had gone back to college to get my (as it turned out, worthless) BA degree in Art and Education. Oh well, had a lot of fun partying and playing basketball (when I had two good knees). But why did it end up devoted to British horror films?


My background is pretty typical of older fan-boy types. I was born in 1947 in Mason City, Iowa. My dad was a WWII vet, and in our little town we had three movie theaters (occasionally a fourth which seemed to open and close regularly). I loved from the beginning anything to do with monster and fantasy/horror. In those early years, I remember seeing THE BRIDES OF DRACULA, THE CURSE OF THE WEREWOLF, PHANTOM OF THE OPERA and NIGHT CREATURES. I knew they seemed to be something special but I didn’t know what Hammer meant.


In September 1969, just finishing my fourth year of college (and looking at a draft notice immediately after the four years ended!), I had mono that summer and spent a good portion of the time in bed. Finally well enough to go to the drive-in, I saw a triple feature of THE VALLEY OF GWANGI, GODZILLA VS. THE THING and DRACULA HAS RISEN FROM THE GRAVE. The first two were terrific but the Dracula film knocked me out. Luckily for me my mother had drug along my old FAMOUS MONSTERS OF FILMLAND'S and CASTLE OF FRANKENSTEIN’S when we moved from Mason City to Waterloo, Iowa in 1963 where my dad got transferred in his job. Early that morning (with work looking me in the face at 8 am) I dug them out and discovered what a Hammer film was (and discovered fanzines like GORE CREATURES, PHOTON, etc., which had a huge influence on what was to come). I fell in love with both the films and fanzines. Joined the Christopher Lee fan club, wrote a defense of Hammer for their clubzine…and by May 1970 was drafted and headed for Ft. Leonard Wood, Missouri.


I wanted to publish my own ‘zine, and I kept in contact with people like GORE CREATURES publisher/editor Gary Svehla during my service time. So when I got out, I was ready to become immersed in the world of fanzines, and monster movies.


It was never intended that LSoH would be mainly about British horror, but it seemed to crop up from issue one, and starting with #4 (I got married between #3 and #4 so there was a four year gap – which became pretty common with LSoH until the start of the new century when my new wife, Nancy, supported me in making LSoH a more regular publication). LSoH became mainly Brit oriented. It was my prime interest, and if I was to keep going on this (and I never thought I would. Ending the mag sometime was always in the back of my head. That we are still going after 38 years is mind boggling!) it would have to be about British horror.


MMW: Where you originally determined to make this ‘zine last or have you been surprised by its longevity?


KLEMENSEN: Yeah, I’ve been very surprised that LSoH is still around. As mentioned, there would be big gaps between issues, mainly because of personal upheavals in my life (divorces, moves to other cities, loss of jobs, etc.). But I loved chronicling the history of Hammer (and now the whole classic British horror scene) and something just kept drawing me back. Now we are doing two issues a year, which when you consider that Hammer’s first horror is now 53 years old – and there ain’t many of the original crews left – is pretty surprising.


MMW: I am amazed at the sheer density of text in each edition of LSoH. I always feel like I’ve just finished a novel every time I read an issue. How and where do you come up with all this material?


KLEMENSEN: Coming up with the materials? The basis for any film we decided to cover (or I should say I decide since I’m a one-man band as far as the physical side of the publishing goes) is if I think there is any material out there that is new, never seen before (or at least rarely seen) we go after it. Through the years, I’ve established a pipeline of contributors both in England and in the States. And I’m always getting contacted by long-time readers of the mag who have something they would like to add – like the John Carson interview re: PLAGUE OF THE ZOMBIES from David Williams, in LSoH #23. I’m always a little surprised, but pleased, when it all comes together. Denis Meikle has been a god-send for LSoH. He contacted me about helping him with a Hammer book, in 1990. I thought he had the ability to do it (not something I’ve felt when contacted by others in the past), so I put him in contact with Hammer people like the late Michael Carreras, producer and one-time owner of the company. Denis has become one of our most consistent contributors, does headers, interior designs, articles, interviews, etc. He just represents a small portion of the talented people who have come forward over the year, or done interviews for me (when you are dealing across the Atlantic, it can be hard to line up someone to conduct the interviews). And Bruce G. ‘gore’ Hallenbeck, since about 1982, has done many if not most of our ‘making of’ features. I supply Bruce with research materials (although he often conducts interviews himself) and ‘gore’ goes to town.

The idea of a focused issue started in a small way with #8, and now we will devote the entire issue (or at least the non-regular columns) to one particular film or film series. As a rule, we try to have something not related to the subject matter (say, having a NIGHT OF THE DEMON feature in a CAPTAIN KRONOS/DR. JEKYLL AND SISTER HYDE issue) just for some diversity. But it amazes me how fast we can fill up 100 pages! Especially as we’ve become more and more photo and artwork oriented.

(To be continued . . . )

Andree Melly, Dick Klemensen and Yvonne Monlaur (BRIDES OF DRACULA gals) Bray Studios days 1999

 

Roy Ashton (Hammer Makeup artist) and Dick Klemensen - 1984

James Bernard, Dick Klemensen and Gary Smith, Hammer composer, at his London home in 1999

Caroline Munro and her fanclub and Dick Klemensen, at a Fanex Convention

Michael Carreras luncheon - 1994 - Carreras would die three weeks later. Producer Kenneth Hyman, Hammer exec Brian Lawrence, Dick Klemensen, Hammer producer Anthony Hinds, Michael Carreras and Jimmy Sangster. Luncheon held at Sangster's local pub in London

Dick Klemensen with Anthony Hinds

Dick Klemensen with Brian Lawrence, Hammer Executive

Dick Klemensen and Kenneth Hyman (Producer of HOUND OF THE BASKERVILLES & TERROR OF THE TONGS)

FROM THE TOMB . . . BACK FROM THE GRAVE!

One more comics post, then I'll get back to the monster movie 'zines, I promise! Too hot to wait is the announcement just a short while ago of the return of FROM THE TOMB, an excellent A4-sized B&W/Color magazine that specializes in horror comics. Much like the sorely-missed TALES TOO TERRIBLE TO TELL published by New England Comics some years ago, FROM THE TOMB not only attempts but succeeds in instilling a sense of history for the reader along with insights on where the genre is headed in the future. Produced by Peter Normanton, FROM THE TOMB is a professionally printed 'zine that doesn't loose it's fun and "fannish" edge. Normanton is also the beast responsible for editing that giant tome of horror comics called THE MAMMOTH BOOK OF HORROR COMICS a few years ago.

For right now, the latest issue is only available if you purchase it online. You can also take a gander at some sample pages here. I love this 'zine and highly recommend it if you have any interest at all in horror as sequential art.