Editorials
[It Came From the ‘80s] Tobe Hooper’s Homage to ‘50s Sci-Fi Horror, ‘Invaders from Mars’
With horror industry heavy hitters already in place from the 1970s, the 1980s built upon that with the rise of brilliant minds in makeup and effects artists, as well as advances in technology. Artists like Rick Baker, Rob Bottin, Alec Gillis, Tom Woodruff Jr., Tom Savini, Stan Winston, and countless other artists that delivered groundbreaking, mind-blowing practical effects that ushered in the pre-CGI Golden Age of Cinema. Which meant a glorious glut of creatures in horror. More than just a technical marvel, the creatures on display in ‘80s horror meant tangible texture that still holds up decades later. Grotesque slimy skin to brutal transformation sequences, there wasn’t anything the artists couldn’t create. It Came From the ‘80s is a series that will pay homage to the monstrous, deadly, and often slimy creatures that made the ‘80s such a fantastic decade in horror.
With the anniversary of horror maverick Tobe Hooper’s passing fast approaching, it feels like a great time to revisit one of his more underseen films; the 1986 remake of the 1953 sci-fi film Invaders from Mars. Written by Dan O Bannon (Alien) and Don Jakoby (Arachnophobia), this updated version is a kid-friendly sci-fi horror spectacle that isn’t afraid to get a little scary. The plot follows young David (Karen Black’s son Hunter Carson), the only one to witness an alien spacecraft crash land in the quarry not far from his house. As the aliens begin assimilating everyone in the town, David teams up with the school nurse, Linda (Karen Black), and the U.S. Marines to help save the world. These aren’t tiny parasitic aliens, but big monstrous creatures befitting of Hooper’s homage to ‘50s B-horror.
The Martians were designed and created by Stan Winston Studios, who were also handling Aliens at the time. Luckily, Aliens was still in the early prep stages that neither project interfered with the other, though Stan Winston did draw inspiration from the alien queen concept when designing the Martian Drones. He wanted to further play around with the idea that he could use two performers in one suit to mask human anatomy and give a more alien vibe to the creature. In the case of the Martian Drones, this meant a suit that would have the stunt-man or performer hold ski poles and walk backward in a custom-built frame. That frame would situate a little person against the back of the stunt-person, and the little person would handle the creature’s gaping jaw movements. It gave the creature a very inhuman walk, but the added weight and the size of the suit meant a laborious time for the performers bringing the Drones to life. The sheer size and work involved, especially with the limited budget, meant only two suits were created for the film, but clever editing and stand-in drones create the effect that there were more than that.
The Martian Drones in the film were led by the Supreme Being, a monstrous brain looking alien with a very long tail that sat upon a throne. The puppet for the Supreme Being was constructed with an articulated animatronic face and built with bladders inside to give the effect of breathing. It took three puppeteers to maneuver the Supreme Being.
Invaders from Mars isn’t a perfect remake, and there are rumors that young Hunter Carson was not enthused to have spent his summer on a film shoot. There are even worse rumors that Black wasn’t happy to be involved with the film either. But from a pure creature feature film, this is a pleasant surprise. Hooper keeps upping the ante, unafraid to go really dark for a child led film. The last 20 minutes is absolute insanity. And of course, there’s an abundance of extremely talented special effects artists on display. Stan Winston’s team included artists like Tom Woodruff Jr., Shannon Shea, Howard Berger, Robert Kurtzman, John Rosengrant, Kevin Yagher, and so many more. Even Winston’s son Matt was pulled in to help when not in school.
For those looking for an epic homage to the sci-fi horror B-movie of the ‘50s, or even just a great family-friendly gateway into horror, Invaders from Mars has a lot to offer. It may not hold a candle to some of the more memorable Hooper films, but it’s another shining example that Hooper was never afraid to go bold and try something different. I’ll forever miss him for that.
Editorials
‘The Vampire Lestat’ Concert Event Launches New Season With The Ultimate Expression Of Fandom
There are thousands of passionate fans decked out in gothic chic and champing at the bit like feral creatures. They’re screaming for Lestat, a legendary vampire-turned-rock star, as if the entire crowd has been glamored into submission.
The entire experience is magic, but not because some supernatural thrall has been activated. What’s going on is even more special. It’s the power of the effusive fandom that’s been authentically assembled by AMC’s sublime Immortal Universe, namely Anne Rice’s Interview with the Vampire, now, The Vampire Lestat.
The Vampire Lestat is far from the first Anne Rice adaptation, and it’s not as if there’s been a lack of erotic vampire material for audiences to sink their teeth into. On June 2nd, during a one-night-only spectacle, New York City’s prestigious Beacon Theatre shook from Sam Reid’s bravado performance and an audience full of adoring fans who had already memorized Lestat’s songs.
It’s clear that The Vampire Lestat just hits differently than its predecessors. It’s become more than just a TV series at this point, and this opulent display of ego, swagger, and pure sex is the perfect way to premiere the new season and give back to the fans who helped make Interview with the Vampire/The Vampire Lestat such a breakout success. It’s exactly the sort of hyperbolized hedonism that would make Lestat cackle.
For all intents and purposes, AMC has successfully created the illusion that this concert/premiere is just one of the many destinations on Lestat and his band’s 54-stop tour that is simultaneously playing out on this season of television. It’s such a sophisticated and thorough level of interactive fan engagement that the audience doesn’t just understand, but also manages to accentuate through its involvement.
It’s a level of seamless synergy that’s not unlike the give-and-take relationship of vampire and victim.
Before the concert started, “LeStans” were sitting in the Beacon and flipping through a fake Rolling Stone issue with Lestat emblazoned on the cover, complete with interviews with the undead frontman inside. Other fans were admiring the vinyl pressing of Lestat’s EP as they walked past a section of undead band merch. Fandom and fantasy blur together, and it all becomes this elaborate, immersive experience. Fan celebration, erotic gothic fantasy, and a lavish rock concert transform into one beautiful thing.
To this point, AMC Global Media’s Chief Content Officer and President of AMC Studios, Dan McDermott, introduced the event by reiterating to fans, “You are the heartbeat of the series.” That’s abundantly clear on nights like this as that heartbeat collectively pulses to this performance. In terms of how AMC engages with The Vampire Lestat’s fans, it’s as bold a reinvention as the season itself.
This intuitive gamble speaks to AMC’s creativity in this department and a fandom that is eager to seize such opportunities. It’s the same innovation that led to zombie walks for The Walking Dead and real-life Los Pollos Hermanos restaurant pop-ups from Breaking Bad. It’s a great way to pump up the audience for The Vampire Lestat and then maintain that enthusiasm for the whole season.
For most series, a rock ‘n’ roll concert just doesn’t make any sense as a promotional tool. The Vampire Lestat finds itself in a very unique position where it can deliver an excellent concert at an iconic theater, but also use it to showcase The Vampire Lestat’s music by Daniel Hart (who was shredding on stage alongside Reid and the rest of their band) and, more than anything, Sam Reid’s endless charisma.
The way in which Reid feeds off of the crowd’s energy, modulating his performance and giving different sections of the Beacon life, is a perfect distillation of the series’ thoughtful relationship with its audience and how it’s become such a breakout success for AMC. AMC Studios President Dan McDermott emphasized that the fans are the reason that the show is still here and why an event like this is even possible. It’s rare to see a series in which every single cog in the machine is so perfectly attuned to its fans. Reid’s fans already cheer whenever they see him, so why not translate that to a concert setting?
It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.
Now bring on the encore and get this show on the road!
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