Interview: Creator of Atomic Zombies
In the vein of Idiocracy (2006), Atomic Zombies (2016) and The Poor Guy series weaves Horror through creative zest, humor, and passion. In these little to no budget pieces, the talent in irony deliverance is evident and calls for our attention. Follow along to learn more about this valuable Horror creator.
With all the creative outlets available to you, why movies?
Lots of reasons… I love seeing a creation start out as words or pictures on paper become a full video with music, dialogue, props, location, actors, etcetera.
When I was younger, I’d write down all these stories, then read them to the tape recorder (like, cassette) I had. The process usually involved doing voices and sound effects for a bunch of random characters, including re-occurring characters, like Dr. Gizmo. I’d also create voices for two toy dinosaurs I got from the dentist. They’d constantly break buildings made from Jenga blocks, and go to jail in Jenga blocks rearranged.
Later, someone in my neighborhood got a VHS camera that had to be connected to the wall for power, and we made a bunch of videos about skateboarding. We also recorded nonsensical “army” skits; we had a bunch of toy guns, used ketchup as blood, and moved slowly for dramatic slow-motion parts.
Eventually, I got a Hi8 camera, and made a bunch of videos with my action figures and LEGO‘s, part stop motion and part video. Finally, I got into asking friends and family to be in the videos (which worked out better than I was expecting) and then just used whatever resources we had to make whatever dumb ideas we had into short movies.
After I got a digital camera and some editing software, we made even more dumb ideas come to life with slightly more production value. At this point, I like that we can put a little more time into something and make it look better or we can do a stream-of-consciousness video for fun and have it finished in one day (like the Pizza, Pasta and Fried Zucchini Competition videos I did on YouTube).
Why Horror?
I was pretty sheltered when I was younger, but I would always fixate on any violence I could get a hold of. Some specific movie examples would be the VHS fast-forward version of the Raiders of the Lost Ark (1981) face-melt scene, the Indiana Jones and the Last Crusade (1989) aging-to-death scene, and The Matrix (1999) Morpheus-getting-punched-whilst-tied-to-a-chair scene… You get the picture.
When I finally got into actual horror movies, I loved them. The jokes, the characters, the creators behind everything, and, of course, the gore. There is also a camaraderie amongst horror movie enthusiasts which doesn’t exist among any other genre of movie. Our scope of movie entertainment often extends to lower budgets and stranger storylines than the casual movie goer may enjoy. We are often rooting for the villain, and we are all aware that every one of us is a little sick in the head.
Tell me about your creative process. How does a video start? An idea, thought, message, scenario, etc.?
I always have a bunch of random sketches or notes that I’d like to incorporate into a video. With my webseries, Poor Guy, I often just voiced random conversations between the characters while I was working; by myself and outside all day. Once in a while I’d stumble into some kind of bit that I’d want to use in an episode. Thinking back, I probably looked like a crazy person talking to himself.
I’d make a storyboard and comics of jokes or interactions, and when I had enough to use together, I’d turn them into a skit. We always have a fun time filming, which can add more jokes along the way. Sometimes they’re for the audience, sometimes they’re just for ourselves to laugh at later. Many on-the-spot jokes in Poor Guy ended up becoming recurring jokes throughout the series. Although Poor Guy isn’t suspenseful or a gore-fest, I tend to think of it in the horror genre. Maybe more Psychological Horror or a Dark Comedy. Either way, it draws a lot of inspiration from the Horror.
One of the nice things, which can also be one of the worst things, about YouTube is the ‘Comments’ section. It provides instant feedback, and a couple times I’ve used suggestions from them in videos. I even ended up getting some voice-over lines from a commenter, which turned out great (Hi AJ).
Also, I try to only write stories that involve locations, props, and people I have access to. For Atomic Zombies, I designed and drew up a few pictures of a Mad Scientist, Dr. Gizmo, an evil Nazi version of the character I mentioned before. There’s also a friend I have who’s awesome at building props and costumes who was able to make a mask based off those few drawings.
I also have a friend who has an amazing studio, basically catered toward an old sci-fi lab, which was perfect for Atomic Zombies. It can be hard to film an apocalyptic wasteland near one of the biggest cities in the country, but as long as the camera is pointed away from traffic, we make it work. I have little to no musical talent, but luckily I know a couple people who are the opposite, and have put together some really awesome music for the weird videos I make.
Which piece are you most proud of, and why?
Atomic Zombies 2 is in production and looking pretty good, but I think my favorite finished video so far is the Poor Guy Christmas Special. I put it out after almost a full year of regular Poor Guy episodes, and it was about four times longer than most of them. It is based off a parody of A Christmas Carol that I had written years earlier. No Spoilers, but it was fun to bring back some characters we killed off earlier. I love stop motion, and since lots of Christmas specials are Rudolph-esque animations, I put some stop motion in my version.
The special also developed a character who turned into one of my favorites, named Balaam. A floating, talking deer head, who tries to help out Guy, played by ShadowBeatz (music sensation, who also created a Christmas rendition of the theme song), but rarely succeeds. Poor Guy Christmas Special introduces another one of my favorite characters, Tasha. She’s a ghost who calls herself a superhero, but seems to act more like an evil villain.
List any favorite movie creators or specific pieces, tell me how your work has been influenced by them.
If I had to pick just one, I’d say Robert Rodriguez. I’ve always enjoyed his movies, even Spy Kids. I love his story, how he started out with Bedhead (1991) and El Mariachi (1992).
Where can I find your work and the work of your helpers?
- Twitter @Johnmckech
- Atomic Zombies News on Facebook @atomiczombies
- YouTube Poor Guy
- ShadowBeatz Twitter @ShadowBeatz
- Monster Masks Facebook @mymonsterfx
- Chapman Productions Facebook @ChapmanProductions
- Eric Britton Instagram @scratch_build
I’m very interested on your thoughts on this interview! Take a look at my previous interview with comic author, Jesse James Baer. Who should we interview next? Let me know in the comments below!
PARZZ1VAL: How to Connect
- Twitter @Parzz1V
- Facebook @Parzz1val
- Email parzz1val@yahoo.com
Movies n TV
Luiso Berdejo’s Feature-Length Debut, or The New Daughter
The New Daughter (2009) is a PG-13 horror film & Luiso Berdejo’s feature-length debut based on John Connolly’s short story of the same name.
The New Daughter (2009) is a PG-13 horror film and Luiso Berdejo’s feature-length debut. The film is based on John Connolly’s short story of the same name. The New Daughter stars Kevin Costner, Ivana Baquero, Samantha Mathis, and Gattlin Griffith. As of this review, the film is available on VUDU Free, The CW, Hoopla, Tubi TV, Freevee, and Plex, with additional purchase options.
John James (Kevin Costner) moves his children to a rural South Carolina town to start anew after his wife leaves him. Louisa James (Ivana Baquero) can’t stand this change, and Sam James (Gattlin Griffith) doesn’t understand why his mother isn’t with them. But after finding a burial mound, their attitudes suddenly switch. As John uncovers more of their new home’s history, he realizes there’s much to fear.
What I Like About Luiso Berdejo’s Feature-Length Debut
Despite its 2009 release date, the Academy of Science Fiction, Fantasy, and Horror Films nominated it for the Saturn Awards’ Best DVD Release in 2011. As Luiso Berdejo’s feature-length debut, the film manages to hold an audience with a tight script and direction.
The acting sells this ominous mystery, which might otherwise become obscure amongst others in the genre. In particular, Kevin Costner’s John James and Ivana Baquero’s Louisa James center The New Daughter around their characters’ strained father-daughter relationship.
Ultimately, The New Daughter thrives in its atmosphere and execution. If we take the film plot point by plot point, The New Daughter doesn’t break the mold. Between Luiso Berdejo’s direction and the writing of John Travis and John Connolly, however, the film executes this uncomfortable tension that invests viewers.
Last update on 2025-01-28 / Affiliate links / Images from Amazon Product Advertising API
It’s in The New Daughter‘s execution where it haunts its audience. There’s this uncomfortable powerlessness as John attempts to protect his family against the horrors in the mound and its corrupting influence.
The ending might seem uncommitted, but I would disagree. The film executes a balance between hope and horror that leads to ambiguity but doesn’t leave the audience dissatisfied. A bolder film might conclude with an unhappy ending, but The New Daughter gives a sliver of hope in its dark ending.
Tired Tropes and Triggers
A cat dies in the film. The act isn’t shown, but I understand this can be a dealbreaker. In loose connection, there are also animal carcasses.
There’s a loose and underdeveloped connection to Native American mythology, following along the idea of “Indian (Native Americans) burial grounds.” While this initial thought proves inaccurate, it still holds familiar plot points that might irk some.
There are some strange decisions revolving around Louisa. Needless to say, a part of the plot revolves around her beginning puberty. While nothing is explicit, the creatures require a mate, which suggests sexual assault.
What I Dislike about Luiso Berdejo’s Feature-Length Debut
The aesthetic of the burial mound doesn’t seem particularly noteworthy. This becomes a problem when it looks like any hill in a forest. I don’t particularly see how the James family recognizes this as something strange and worth fixating on. As the film progresses, there are obvious reasons, but the aesthetic doesn’t execute this strangeness.
As addressed above, the premise remains familiar and safe, perhaps too safe. A family moves into a rural home, escaping a past withheld from the audience. The mother is out of the picture, and the father struggles to connect with his young daughter. I don’t subscribe to the idea that these are lazy points, but it might seem formulaic with how thick it dominates the film’s beginning.
Final Thoughts
The New Daughter is an impressive feature-length debut but one with notable flaws. There’s a familiarity and safety in the plot that hinders what could have been. However, the ominous mystery and acting provide the needed execution to create a haunting experience. If you’re looking for a horror following a terrified family against supernatural creatures, The New Daughter delivers.
(3.5 / 5)
After taking a week off, Dexter Original Sin is back. And while no piece of art can ever be entirely perfect, this was as close to perfect as I think we can expect.
The story
We start this episode right where the last one left off. Dexter, with a body in his trunk, finds his dumping grounds swarming with cops. So, keeping his head as cool as ever, he pulls out his forensic badge and pretends he’s supposed to be there. Then, he feeds the remaining arm from his second kill to the alligators before anyone can print it. But, not before Angel recognizes a distinct ring on the hand’s finger.
Jewelry really will be the death of Dexter.
While he might have gotten himself out of that mess, he still has a body to deal with. He decides to take it to a dump in broad daylight. Sometimes he acts like he wants to get caught. But then, maybe he does.
Meanwhile, the police are still looking for whoever kidnapped Nicky. There’s a horrific scene in this episode in which the poor kid has his finger chopped off. But this finger might well be the evidence that Miami Metro needs to catch the kidnapper because Dexter notices a sense of hesitation before the cut on Nicky that wasn’t present on the first little boy.
He also finds a drop of blood that doesn’t belong to Nicky.
Once again, it all comes back to blood.
What worked
As I’ve watched this series, and after consuming all of the rest of the work this franchise has offered us, one thing has become more and more clear.
Harry Morgan is a terrible human being.
Let’s just take this episode as an example. We see him strongarming a CI that he had an affair with, threatening to stick her in jail and drop her kids into foster care if she doesn’t keep risking her life for him. We then see him go home and lecture his wife, who he cheated on, for not forgiving him fast enough. And we know how this all ends for the Mosers. We know that Laura ends up dead and Harry takes the baby he liked, leaving Brian to the horrors of the foster care system.
- Michael C. Hall (Actor)
- Audience Rating: NR (Not Rated)
Last update on 2025-01-23 / Affiliate links / Images from Amazon Product Advertising API
The thing is, we were never supposed to like Harry. More and more I realize that Harry is the bad guy. He’s the antagonist of Dexter. And as I’m rewatching the original series, I see clearly that he’s been the bad guy from the start. And I think that’s such a brilliant idea.
Not quite as cool, but still impressive was the serial killer advice scene in this episode. Dexter, struggling with where to hide his dead bodies, researches how other serial killers have done so. We see him talk to Ed Gein, David Berkowitz and John Wayne Gacy. This scene brought the absurdity of the series to the forefront. Our main character admires these men. These monsters did horrific things. And we still, somehow, against all decency, like him.
Let me also just say that Scott Reynolds who played Gacy did a fantastic job. The body language and line delivery were just so creepy. For someone who wasn’t on screen for more than a few minutes, he knew how to make a killer impression.
Finally, I want to applaud the twist in this episode. But, as always, I want to do so without giving it away! I will only say that there is a large reveal regarding the person who killed the judge’s son and abducted Nicky. And, I have to say, I didn’t see it coming. It was amazing and raised so many questions. Questions I cannot wait to have answers for.
Honestly, everything in this episode worked. It was well-written, well-acted, and well worth my time. My only complaint right now is that there are only three episodes left.
Of course, it’s usually the last episode of a Dexter show that ruins the whole thing. Let’s see if they can avoid that this time.
(4 / 5)
After the last episode of Goosebumps, I was concerned. I wasn’t sure where the season was going, and I worried I wouldn’t like it.
Thankfully, this episode got the story and my interest back on track.
For the most part.
The story
We begin our story with a flashback from Alex, finally finding out why she was sent to Juvie. She was at a party that resulted in a house fire, through no fault of her own. Rather than helping her, Alex’s mom Jen simply assumes she set the fire and refuses to help her. So, you know, ACAB.
When Alex gets back, she wants to clear her name. So she decides to find Murph, the person who actually set the fire. To do this, she needs a car. So she decides to borrow Trey’s car.
You know, the car that is currently infected by the homicidal sewer spores.
What worked
One thing I’ve enjoyed about this season so far is that no one’s really at fault here. Yes, some of them are doing dumb things. I wouldn’t consider Trey breaking into Anthony’s basement and wrecking stuff to be a great decision. But I can also see how he got there, and why he was pushed to that. I love how we have the opportunity to see the motivations of almost every character.
I also enjoyed how Alex’s character is being filled out. She is compassionate, funny and brave. I think she’s going to end up being my favorite character this season.
On that note, a lot of this episode revolved around Alex and her mother. This was important, as we needed to round out the cast. However, I appreciated that we got that focus while still moving the storyline along for the characters we already have established. It’s sometimes hard to strike that balance when we’re not telling a story in a linear fashion. But I think they pulled it off.
What didn’t work
As much as I love the Alex/Cece relationship, I don’t love how Cece is being portrayed.
Maybe I just don’t like Cece.
She is too perfect. She is too charming. Everyone likes her. And several times in this episode she batted her pretty eyes, tossed her blond hair, and got people to do things for her. While I am amused that Alex weaponized this, it’s also irritating. I’d like to see less pretty privilege.
Finally, in this episode, we saw this demonic or haunted spore (or whatever it is) transition from a car to, of all things, a cup of coffee.
What even is this thing? What are the dimensions? What are the rules? What the hell is it doing?
Suspension of disbelief can only take us so far. We have to have a set of rules for the world for us to buy into it. I can buy a sentient spore. I cannot buy it jumping from living creature to car to coffee cup.
Do better.
Even so, this was a really fun episode. I’m enjoying the story so far, and I’m interested to see how long it takes everyone to get the parts of their story together so they can see the whole picture.
(3.5 / 5)
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