Manchester’s Triple Six Horror Film Festival Announce A Very Special Guest PLUS MORE!!

hardware-t6-picManchester’s Triple Six Horror Film Festival announce their first special guest Richard Stanley plus a 35mm screening of Hardware with a Q&A and more.

The Triple Six Horror Film Festival is proud to announce that their first special guest will be the groundbreaking director Richard Stanley who will be with them for the entire weekend. PLUS they will be showing his debut feature Hardware (1990) on 35mm followed by a full Q&A with Richard .

Hardware is a totally unique, visually stunning feature that needs to be seen on the big screen. Aesthetically compared to Gilliam & Jodorowsky and with a real 1990’s man vs machine mentality that summed up the age when technology was becoming an essential part of life not a luxury, along with a stunning industrial score, Hardware is a mix of horror, sci-fi and much more. Rarely seen on the big screen ,especially in 35mm, this will be an amazing one-off experience !!

richard-stanleyRichard has kindly agreed to be at Triple Six throughout the entire weekend , and will be on hand to sign items , have pictures and indeed just chat with horror fans that attend. He will also be part of a Q&A after the Hardware screening where he talk about Hardware and his career in general, this is something that will be a one-off and not to be missed as Richard rarely leaves his isolated location in France .

Triple Six is a new UK horror film festival based at the AMC cinema in Manchester and will be over May 27th & May 28th 2017. AMC is a state-of-art cinema complex in the centre of Manchester and Triple Six will be based in their Screen 3 which has a wonderful fully functioning 35mm projector. On top of Hardware Triple Six will be showing seven more ‘new’ horror features and 8 ‘new’ horror shorts , for a weekend of horror on the BIG SCREEN.

Submissions are open until March 1st for Triple Six at Film Freeway here –

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Hardware director Richard Stanley to Direct New HP Lovecraft film

Hardware director Richard Stanley to adapt and direct H.P. Lovecraft story

color-out-of-spaceEntertainment Weekly have just announced that the inimitable Richard Stanley has teamed up with SpectreVision to bring his first feature in 23 years with the adaptation of HP Lovecraft’s short story Color Out of Space. Read the full article below as taken from Entertainment Weekly.

Indie-horror company SpectreVision has confirmed that it will produce Richard Stanley’s new film, Color Out of Space, his first movie since 1992’s Dust Devil. The film is an adaptation of famed “weird” author H.P. Lovecraft’s short story, “The Colour Out of Space,” about a meteorite that drives people insane. Stanley will direct and pen the screenplay for the project, which he has been working on for several years. “There needs to be a scary Lovecraft movie,” Stanley said last year. “I want to make a bad trip film and ‘The Colour…’ definitely has what it takes to be a very, very bad trip indeed.”

“H.P. Lovecraft is the undisputed father of literary horror, and yet, bafflingly, there has yet to be a cinematic treatment that captures the dark beauty of the man’s oeuvre,” said SpectreVision co-founder Daniel Noah, in a statement. “Richard Stanley’s note perfect adaptation of Color Out of Space represents an epiphany for me — as it no doubt will be for legions of Lovecraft devotees around the world.”

Casting is currently underway on Color Out of Space and the plan is for the project to start shooting in early 2016.

Stanley made a splash with his 1990 killer-droid debut, Hardware, but, after Dust Devil, was fired from 1996’s The Island of Dr. Moreau, only to return to the set disguised as one of the production’s man-animal extras. While Stanley has directed documentaries and short films since that disastrous chapter (which was recently detailed in David Gregory’s documentary, Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr, Moreau), he has not been able to get another feature off the ground — until now.

Despite his slim body of work, Stanley is revered by many younger genre filmmakers. “He’s really an artist,” Hostel director Eli Roth recently told EW. “I would love to see Richard come out with another narrative feature. “He’s just a fabulous, fabulous creator.”

SpectreVision was founded in 2010 by Noah, director Josh C. Waller, and actor Elijah Wood. Its previous productions include the vampire film A Girl Walks Home Alone at Night, this summer’s making-of-a-serial-killer drama The Boy, and the currently-in-cinemas horror-comedy Cooties. The three SpectreVision founders will today deliver the keynote address at Fantastic Market, the genre market of Fantastic Fest in Austin, Tex.

To read the original article visit here –

Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau (2014) Review

FF bannerLost_Soul_poster[1]Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau (2014)

Dir: David Gregory

Starring: Richard Stanley, Fairuza Balk, Marco Hofschneider, Hugh Dickson

97 mins.

UK release: Frightfest 2014

The incredible, true behind the scenes story of Richard Stanley’s now infamous Dr Moreau remake, told by the people who were really there.

Its wordy title notwithstanding, Lost Soul: The Doomed Journey Of Richard’s Stanley’s Island Of Dr. Moreau is a remarkably enthralling documentary feature. Borne of director David Gregory’s lengthy conversations with the incomparably eccentric, goth overlord Richard Stanley, it charts the unmitigated disaster that was his attempt to remake the classic The Island Of Dr. Moreau.

Lost_1[1]Stanley himself is the focus of the piece, and rightly so. An articulate, intelligent, and very passionate man with a demonstrable love of horror, he is a fascinating character and it’s an absolute joy to listen to him chat away for an hour and a half. That the story is so utterly bizarre, and true, is just the icing on the cake because, after watching Lost Soul, it becomes clear that one could easily listen to Stanley discuss anything.

His loyal friend, and star of what would become the 1996, Marlon Brando vehicle that was released worldwide, Fairuza Baulk (the really goth one from The Craft) is another great talking head – even if she does look kind of creepy after years of plastic surgery – and their enduring respect for each other is wonderful.

It’s clear from listening to Stanley that he had real passion for the piece, that he just wanted to do it justice after reading the source material and falling in love with it. The accompanying artwork, of which we are given just short glimpses, is truly spectacular.

Lost_2[1]The attention to detail on the creatures, for example, is breath-taking, and to hear of the troubles he had with New Line and Bob Shaye in spite of how much work he had put in is heartbreaking, even if it does give us an interesting insight into how the movie business works.

At its core, Lost Soul offers a very dark, yet ultimately factual, glimpse into Hollywood and, in particular, how everyone is disposable in the movie world. In spite of how much of Dr. Moreau was his vision, Stanley was replaced without a second thought, his dreams crashed and his job lost. Although Brando’s demands on the set of the film, once Stanley was kicked off, are legendary the stories cast members tell of he and Val Kilmer acting like dicks are hilarious, it’s all in good fun up until the point you realise these people actually had to work alongside them.

The film set was plagued with almost unbelievable amounts of bad luck, and although it was eventually released (and panned), working on it essentially ended Stanley’s career. Happily, though, he is not jaded and it is perhaps his optimistic outlook that makes Lost Soul a less bleak film than it could’ve been.

Lost_3[1]Naturally, the recent news that he may get to make his Dr. Moreau after all makes Lost Soul even more heart-warming but as it is, this is one of the most captivating, bizarre stories ever committed to film. It is a story that must be told and it is truly wonderful that now, finally, Stanley has been given a proper chance to tell it.

Don’t let its lengthy title put you off, Lost Soul: The Doomed Journey Of Richard Stanley’s Island Of Dr. Moreau is one of the most captivating documentaries you’re ever likely to see, made all the more shocking because it’s true.

Rating: 9/10

Jodorowsky’s Dune (2013) Review

Jodorowsky's Dune (poster)Jodorowsky’s Dune (2013)

Dir: Frank Pavich

Starring: Alejandro Jodorowsky, Michel Seydoux , Brontis Jodorowsky, H. R. Giger, Chris Foss, Jean Giraud, Nicolas Winding Refn , Amanda Lear, Richard Stanley.

UK DVD/Bluray release TBC !

Running Time: 88 minutes

I personally like to think of David Lynch’s Dune (1984) as being the Apocalypse Now (1979) of science fiction movies. Just like Francis Ford Coppola’s Vietnam war epic / Heart Of Darkness adaptation, it is by turns spectacular, sprawling, at times brilliant, at times banal, incoherent and visionary. Many of Dune’s negative aspects were exacerbated by producer Dino De Laurentiis’s insistence that the film be brought in at a contractually agreed running time of just over two hours.

Lynch apparently did try to win De Laurentiis over with an original three hour fine cut of the film, and though he was unsuccessful much of the material removed from this version did turn up years later in a still compromised two part TV screening (there are also floating around on the internet several “fan edits” which are superior to the TV version and closer to Lynch’s intended film, but are still unavoidably messy and stilted). Universal has tried over the years to tempt Lynch back to the editing room to create a director’s cut, but he has always refused due to the compromises he was forced to make while the film was in production. Adapting Frank Herbert’s long and complex 1965 novel was always going to be difficult, but when Lynch finally did bring his version to the screen, it was just the last phase of a project stretching back to the mid seventies. It’s a story in itself and the subject of this highly anticipated new documentary.

The film rights to Dune were first optioned by producer Arthur P. Jacobs, best known for Planet Of The Apes (1968) and its four sequels. When he died, they were taken over by the Chilean born film-maker Alejandro Jodorowsky. Jodorowsky was a major counter-culture figure following his violent surrealistic western El Topo (1970), a favourite of John Lennon and Dennis Hopper and the film that established the phenomenon of the midnight movie. He followed this in 1973 with The Holy Mountain which was distributed in Europe by French film producer Michel Seydoux with great success.

Dune#1As a result Seydoux offered to produce his next project, whatever he wanted to do, and Jodorowsky said Dune. Jodorowsky assembled an amazing array of talent over the following two years: Dan O’Bannon from John Carpenter’s Dark Star (1974) to do the special effects, French comic strip legend Jean “Moebius” Giraud, the Swiss surrealist artist H. R. Giger and British science fiction artist Chris Foss to do the conceptual designs, production drawings and storyboards, Pink Floyd and Magma to do the music and approached people as diverse as Orson Welles, Gloria Swanson, David Carradine, Mick Jagger and Salvador Dalí to star. With the project about to begin shooting, Seydoux and Jodorowsky were unable to convince an American studio to put up the final $5 million they needed, and the project collapsed.

The production history of the Dune that never was is something fans have been aware of since Lynch’s movie came out in 1984, and the laying out of the facts behind the failed production above does Jodorowsky’s Dune disservice. The film begins with Danish director Nicolas Winding Refn explaining how Jodorowsky once spent hours talking him through his entire vision for the film, and this is exactly what Frank Pavich tries to do here.

With access to the storyboarded shooting script (a massive book the size of three telephone directories) and the original production art, Pavich wants the film to live in your imagination, dramatising several sequences using Giraud’s original illustrations, and allowing the artists to explain the thinking behind their work in detail for the first time. Not only does the film give you a tantalizing glimpse of the film that might have been, but there is real poetry in the documentary’s explanation of how the ending of Jodorowsky’s version of Dune – in which Paul Atreides is killed only to be reborn as everyone – reflects the actual influence his unrealized script has had on the development of science fiction cinema. The effect is actually quite moving.

Dune#2Pavich goes on to theorizes a world without the failed Dune – in a way it’s the same argument as what if the film had actually been made – and shows how many of the visual ideas in the Dune storyboards turned up in several other movies including Flash Gordon (1980), Raiders Of The Lost Ark (1981), Contact (1997) and the Alien prequel Prometheus (2012). Some are more persuasive than others but one fact is indisputable. When the project collapsed and the creative team scattered, Dan O’Bannon wrote the screenplay for a monster in space movie, took H.R.Giger, Jean Giraud and Chris Foss with him as conceptual artists, and made Alien (1979), the film that established Ridley Scott’s directorial reputation after The Duellists (1977). Without Alien, Scott doesn’t direct Blade Runner (1982) – perhaps the most influential film of the last 35 years – and so films like The Matrix (1999) don’t get made. But that’s just the beginning of the fun “what if?” scenarios.

Without these two films, not only is Ridley Scott’s contribution to cinema vastly reduced, there is also no Sigourney Weaver who made such an impact in the first Alien film and was established as a star in Aliens (1986). Without Aliens, James Cameron would have suffered the same fate as Ridley Scott, but there is also the possibility that we would never have heard of him at all. In the wake of Alien’s box office success there were many low budget cash-ins, one of which was the little regarded Roger Corman production Galaxy Of Terror (1981) which gave Cameron his first directing job, shooting second unit and doing production design. No Galaxy Of Terror, no Piranha Part Two: The Spawning (1981), no The Terminator (1984) or Terminator 2: Judgment Day (1991), and without those Arnold Schwarzenegger does get his career defining role.

The final significant casualty would have been David Lynch himself. Had he not brought Dune to the screen in 1984, he would not have made Blue Velvet (1986) as part of his deal with Dino De Laurentiis, a film that is regarded by many as one of the best of the decade. Without Blue Velvet there is no Twin Peaks, the show that is often credited with starting the revolution in American television that produced shows like The Sopranos, Six Feet Under and The Wire. The permutations are endless and fascinating.

Dune#4Jodorowsky’s Dune is terrific stuff. As a film about a film that never was, it’s even better than Lost In La Mancha, Keith Fulton & Louis Pepe’s 2002 film about Terry Gilliam’s failure to bring his cherished The Man Who Killed Don Quixote project to the screen. Like that film, there is still the possibility that Jodorowsky’s version of Dune could still be made.

The now 85 year old director who has just directed The Dance Of Reality (2013), his first film in 23 years, believes it could be realised as an animated project using his book of designs and Giraud’s complete storyboards as the basis, but with remakes one of the main currencies in Hollywood, isn’t it possible that it could be brought to the screen as originally envisioned, maybe even with Jodorowsky’s involvement? It seemed unlikely that the European film-maker Tom Twyker would team up with the Wachowskis to bring a $100 million adaptation of David Mitchell’s Cloud Atlas to the screen, but in 2012 it happened. In a world where robots engaging in fisticuffs dominate the box office, Jodorowsky’s Dune could just provide the creative shock to the system that cinema needs.

Rating: 9 / 10

Daniel Stillings

Between Droids and Devils: Talking With Richard Stanley and Simon Boswell by Matty Budrewicz

Between Droids and Devils:
Talking With Richard Stanley and Simon Boswell
by Matty Budrewicz

Stanley and BoswellFor Tees Valley area horror nuts, the Film Club at The Forum, Darlington has been nothing short of a godsend. Not content with already having spoilt us rotten with triumphant and guest packed Barker-friendly screenings of Nightbreed: The Cabal Cut and Hellraiser, on Monday 2nd December those bastards and their Fearless Leader James Watson let loose their mighty trump card: an exquisite double whammy showcase of Hardware and Dust Devil.
Wildly imaginative and filled with the kind of go- for-broke hypnotic verve all too seldom seen in the genre, the two flicks from writer-director Richard Stanley proudly rank as two of the very best shockers of the nineteen nineties. Thrillingly, Stanley was on hand to present both movies and, in a UKHS exclusive, very kindly agreed to put up with this slightly awestruck babbling yahoo to wax lyrical about his work…

“Well, the killer robot in Hardware arrived late,” the enigmatic South African auteur explains as he settles down with a cuppa between films. “There’s originally a Hardware which began life as a one hour Super 8 called Incidents in an Expanding Universe, which I began making when I was fifteen. It was basically Hardware without the M.A.R.K. 13.”

Hardware posterAh yes, the M.A.R.K. 13- the murderous droid at the centre of Stanley’s cyberpunk gothic feature debut. A junked government experiment discovered as scrap by post-apocalyptic soldier Mo [Dylan McDermot], the M.A.R.K. 13 robot ends up on a bloody apartment-based rampage after being inadvertently re-assembled by Mo’s artist girlfriend Jill [Stacy Travis] one particulary bleak, future-shock Christmas Eve. “Incidents starts very much the same way: Shades [Mo’s best friend] comes back from space, him and Mo are wandering around town bitching, Mo’s girlfriend is a scrap metal sculptress… Basically, the whole Super 8 is the same except nothing happens. They just go back to the apartment and are all very depressed, the joke being that they’re all dreaming about the future but they’re already in the future and the future sucks! It’s not a horror-action movie, just a very depressing look at a despoiled tomorrow!” Stanley laughs.

So what did prompt the ‘bots arrival? “After getting my material rejected by numerous different production companies, obviously Terminator and Aliens happened and the general wisdom was to ‘make a monster movie’- put a monster in it and turn it into an action horror film. It just then made a kind of sense to me to do it.” Indeed, it’s an aspect that dovetails perfectly with the rest of the plot, something Stanley puts down to practice. “I think the reason the films’ world is so well developed was because it’d been rehearsed in the Super 8 and in a few of my music videos [for the Fields of the Nephilim]. We just made things even worse by dropping a malfunctioning droid into their lives!”

Dust Devil poster 2Similarly Stanley’s sophomore feature Dust Devil also has roots in earlier material, this time in the form of an aborted 16mm attempt. Finally coming to full fruition in a serial killer obsessed post-Silence of the Lambs cinematic landscape, the 1993 creeper tells the diabolical story of ‘Hitch’, a supernatural murderer [played by RoboCop 3’s Robert Burke] prowling the Namibian highways for the lost and the desperate- the eponymous Dust Devil.
Exchanging the claustrophia and brashness of Hardware in a favour of a bigger, more evocative canvas, Dust Devil is a handsome and more refined work, paradoxically both classical and experimental.

Don’t believe me? Just check out Stanley’s lush compositions and sweeping camera manoeuvres, straight out of any classic western, and then look at the unorthodoxly structured, esoteric and surreal screenplay; it’s The Searchers by way of art-horror. “It’s certainly not a linear narrative,” says Stanley. “It’s nothing like a modern day, Robert McKee three act structure, it doesn’t really follow the Hollywood wisdom on script structure. It’s kind of like a spiral, with all the characters spiralling round each other and, very often, they don’t even meet.”

Dust Devil still 2Though Stanley describes the somewhat difficult shooting of the film as “a thousand miles of rocky road”, things got a whole lot worse during editing when one of Dust Devil’s co-backing production companies Palace Films went belly up. “Yeah, Palace were forced into receivership. Their parent company basically went bankrupt and we were never really able to finish the film,” Stanley explains. “At that point the lab held on to the negative and the sound lab held on to the sound part- all the different pieces of the film were held on to by the various creditors who Palace were owing money to.”

Stanley’s struggle to get the film back is a well documented and almost legendary affair, the long and the short of it being him investing countless amounts of his own time and money into finally getting it out there in his intended version.”After about three years, I managed to get back in with David Orkin at Channel Four and some of the original investors,” he says. “I was then able to go and gain access to the original neg and the materials. I was finally able to put the film together as it was meant to be. The original [UK released] Polygram VHS was my cut of it- my original version- it just wasn’t graded very well. It was a lot darker. I don’t think they actually bothered to tell any of us or talk to the DP about it- I think they just rattled it off in one sitting at the telecine, probably at about three in the morning when it was cheap! By the time the DVD came around, we were able to go in and grade it properly.”

Dust Devil still 3It should be noted, however, that this wasn’t the first time Stanley had experienced what some would politely term ‘production problems’, and nor would it be the last, as any quick Googling of 1996’s The Island of Dr. Moreau, starring Marlon Brando, and its notorious calamity-ridden production history will explain. “It seems to happen on almost every project I work on. It happened on my student film and I’m always waiting to see what’ll happen to the master or the DCP nowadays,” Stanley chuckles self-deprecatingly. “The issue of having the print taken away or having things taken out of it has been present ever since I first picked up a camera. Things are always threatening to fall into the fire or get taken over by someone!”

Thankfully, Dust Devil seems to have found its audience in the last few years, Stanley’s ‘Final Cut’ becoming something of a cult favourite. “I think it’s finally managed to triumph,” he says. “I’m hoping the old version will eventually die out. The Miramax version is under seventy minutes.” Of course- the infamous, butchered US cut. How in the hell did that happen?! “Miramax held on to the cutting copy and at some point they must’ve struck a new interneg and then continued to edit a film out of that copy. They were cutting without access to the rushes and without access to any of the other material.”

Vacation promo posterTalk soon turns to two of the director’s long mooted projects, Hardware 2: Ground Zero and Vacation. The former is an epic that would serve as both a Hardware sequel and an expansion of the ideas and inner mythology found within Dust Devil, effectively creating and closing a grandiose Richard Stanley trilogy. Whilst Hardware 2’s brilliant script is readily available to read online, getting it made is something else entirely: “Legally, it’s still tricky. I’ve thought that maybe if we could get away with it, maybe make a movie called ‘HARD.WARE’-just change the title slightly as it’s largely that that stops it happening, though ‘property’ is really the word,” Stanley explains.

“I’ve tried pitching the same script to different companies under different titles and people seem a lot less keen on taking the movie if it’s called something like ‘Droid’ or ‘Final Assembly’! Any alternate titles I’ve put down, they’ve always wanted it to be called ‘Hardware 2’ so as to have that instant connection with the franchise.”
Sadly, the inability to get Hardware 2 made is sadly mirrored by the similarly tech-phobic Vacation. “Yeah, I’ve tried for ages to get it off the ground. It’s very frustrating, that one,” sighs Stanley. “I guess maybe the politics were too extreme. It’s about an American couple holidaying on a remote island in the Middle East at a point in time where a global calamity takes out the West. America and Britain go offline forever, the tourists discovering their cellphones and credit cards won’t work anymore and people no longer have any reason to do anything they’re supposed to do anymore. Things start to slide back to a Year Zero situation.”

Interestingly, the idea of returning to savagery- be it in a post-apocalyptic sense or a more primitive one- is something of a recurring theme in Stanley’s work. What is it that makes that particular notion so appealing? “It’s something that seems sort of sickeningly inevitable to me,” the filmmaker offers. “I’m scared of the fragility of civilisation- one big magnet surge, one big solar storm and they’d take out the internet, the whole of cyberspace. Shut off cyberspace, shut off the computers and I’d imagine something like eighty five to ninety per cent of people in the cities would probably die in a matter of months. Once the basic surfaces have been shut off… I think that’s always lurking there, that fear that we might trip and fall and lose all the gains we’ve made and just explode in a fireball of violence.”

Hardware still 3As our chat draws to a close, there’s just enough time to ask about one more once-announced movie of his, Bones of the Earth- a fantastic sounding Scottish-set piece about a brain damaged terrorist type out to execute an American officer during a Highland deer cull. It’s a film that Stanley describes as “an action movie on one level, Deliverance the next and at the same time a State of the Nation address.” It’s just a shame that it too fell apart, as Stanley explains: “Well, along with Hardware 2, it’s undoubtedly the best fucking screenplay I’ve got. It’s really, really good- it still grabs me by the throat and puts tears in my eyes when I read it.

It’s just a number of extremely sad things happened on it. I was asked by the producer at that point in time to write a part for Richard Harris so I did- a huge, towering part of a two-fisted, ageing, drinking Gaelic character. He was such a brutal, doomed working class hero I was thinking ‘Fuck! We’re going to get the Oscar for this!’ and Harris himself was so happy with it… Then he fucking dies playing Dumbledore! I had such a good death lined up for him too, just such a good way out!” he laughs. “I liked the fact the script had a lot of sympathy for the terrorist character and that both he and the Harris part are essentially righteous really…

It was the last thing [director] Donald Cammell worked on, probably right before he topped himself, and I found a copy on an agent’s shelf. It was just sitting there and I just went ‘what the Hell’s this?’ and pulled it out. It was fifty pages and then just stopped, incomplete. All the work I did on it worked out extremely well too.” The thoughts of what could’ve come from a Stanley/Cammell match up are obscene, especially considering the similarities present between the two distinguished helmers. “Yeah, I only discovered that after he committed suicide.

LAutre Monde posterI hadn’t actually seen Demon Seed but I went back and watched it and thought how weird it was that he’s also made a ‘girl trapped in an apartment with a killer robot’ movie and he’s made a quasi-mystical, desert-bound serial killer movie [the excellent White of the Eye]. He also had a disastrous project with Marlon Brando too, Jericho, which kind of almost destroyed his career. However, he did make a solid gold masterpiece in the form of Performance which I haven’t done… Yet. But I’m still alive!” Stanley chuckles.

So, finally, what’s next for the idosyncratic helmer? First up is L’Autre Monde (The Other World), a feature length documentary that, at the time of talking, had just won the Director’s Award at Mórbido Fest 2013 in Pátzcuaro, Mexico. “It’s shot in the place I’ve been living the past four years, up in The Pyrenees. It’s edited down from about forty eight hours of material, basically spinning around the idea of a space-time portal or some kind of portal to another world being in the area,” says Stanley.

“Originally I was alerted to this by one of the people living up there trying to warn people about it by sticking the covers of Lucio Fulci movies to trees, trying to keep people away! It was pictures of The Gates of Hell and The Beyond hanging from things!” Beyond that, however, lies the promise of something that’s impossible to resist: Stanley’s full blown return to the horror genre, his Mother of Toads segment of portmanteau The Theatre Bizarre notwithstanding. “We are, actually, finally on the way to shooting a new one next year,” he teases. “Let’s just say it’s a metaphysical science-fiction horror movie based upon the works of HP Lovecraft… The Colour Out of Space. Fingers crossed.” Fingers crossed? I don’t know about anyone else but I’ll crossing my entire body, dammit!

Delirum soundtrackAlso present at the screening was Hardware and Dust Devil’s composer, Simon Boswell. In the evening’s undisputed highlight, the Saturn and BAFTA award nominated muso treat the intimate crowd to a live twenty minute set of some of the choicest cuts from the more genre-friendly items on his extensive filmography. From the serene acoustic seduction of Santa Sangre right up to a full blown Demons 2 rock out with Hardware and Dust Devil naturally represented in between, Boswell’s video-accompanied solo show was superb.

“I’ve been wanting to do ‘live’ for a very long time,” Boswell explains when I sit down with him. “It’s just kind of a chicken and egg thing at the minute, like whether to do it just me- which would be OK- but I’d rather do it with a full band. It’d be a bit more magical.”

“It’s great to do. I always thought most film score things are a bit insipid and reverential, sitting there watching the score being done live to a movie,” he continues. “I don’t want it to be like that- I want it to be more like a rock club! I want it to be like The Velvet Undergound with blood! That’s my goal!” It’s a wonderful idea, a notion chock full of the mischief and punk rock derring-do characteristic of Boswell’s musical beginnings in various rock and roll bands. Well, at least until a certain Italian terror titan set him on a new career path…

Phenomena soundtrack“I didn’t intend to be a film composer at all, let alone one that works in the genre!” he laughs. “It was very strange for me, kind of an accident. I just happened to be in Italy producing Italian pop stuff- I was a record producer then- and Dario Argento had seen my band Livewire, an English rock band, play in Rome. He really liked us so a friend of mine set me up with Argento and I ended up working on Phenomena, being sort of forced onto Goblin!” Boswell’s association with the mighty Argento soon led to a whole slew of assignments from the rest of the spaghetti splat pack, effectively turning the genial Brit into the poster boy for late eighties Italian horror scores thanks to his sterling work for the likes of Michele Soavi and the prolific Lamberto Bava.

“Yeah, Lamberto certainly churned them out! There was one point where I did seven in a year or something like that,” Boswell says. “He was literally getting me to do something every two or three weeks… A lot of them weren’t very good I have to admit but they do have a sort of cheesey charm!” So does Boswell include Delirium: Photo of Gioia- Bava’s batty ’87 giallo trashterpiece and a personal favourite of this humble scribe- in that bracket? “Yes!” he smiles. “That’s quite a good score of mine, I think actually. I listened to it again recently and I quite liked it, yeah. I’m actually preparing to do some of it live too. I’m going to do it all eventually, Richard’s stuff, Santa Sangre, Demons 2, StageFright, Lord of Illusions, Perdita Durango…”

Performing aside, Boswell’s future plans also include becoming part of what is arguably the collecting vogue for horror addicts lately: soundtrack reissues. “Yeah, it’s a real growth area at the minute,” he says before divulging the details of his maiden voyage- a mighty repackaged remaster of his staggering Hardware, naturally. “I’ve thought it was about due for a re-release for a while and I really, really wanted to do it on vinyl, so now’s great because it really seems like people are collecting these things again.

Hardware Soundtrack ReIssue There’s the regular double vinyl LP edition- limited to one thousand copies- and a few other cool variants, like the special boxed set which contains the vinyl, a CD copy, USB stick and a blu-ray of the film. There’s some new stuff on the soundtrack too, by the way, not just my score. There’s a lot of voice pieces and things, with Richard’s voice on the re-release new tracks. He’s doing some of the stuff that’s in the actual script for Hardware 2!” Collectors take note- Boswell’s wonderfully lavish Hardware package can be ordered now from the maestro’s website,

So what about the soundtracks beyond Hardware? “I’m going to start working my way through them,” says Boswell. “I’ve got them all on digital tape and most of them are intact so I’ve been transferring them. I’ve got about ten ready to go so the next one may be Richard’s L’Autre Monde. I might however, just before that, do The Turn of the Screw, the one I did that starred Patsy Kensit. That soundtrack has never been released and it’s an interesting score. I’m quite proud of it, actually.”

Before leaving him to enjoy his beverage in peace, Boswell was kind enough to offer a bit of insight into the secret of his and Stanley’s fructiferous collaborations. “We trust each other, I think that’s what it is mainly. Plus, Richard always comes up with really inspiring things for me and leaves me to give my own spin on it which has, I think anyway, produced some of my best music,” he says before pausing. “Yeah, it’s certainly trust though. I think that’s a good thing, you know, especially for directors- trusting me enough in a situation to bring something new to it without ruining it.

It must be quite ordeal; I mean I’ve worked with a lot of directors and I can see their insecurities and how difficult it is for them to go through a lot of shit to get their film made and edited… Only to hand it over to some musical dickhead who could potentially fuck it up!” Boswell laughs. “There’s a lot of paranoia there! Has to be! So, I’d say that’s why we work; you find someone you trust creatively and you hang on to them because it’s one less thing to fucking worry about!”
Richard Stanley and Simon Boswell, I thank you.
Once again, Simon Boswell’s Hardware soundtrack is out now and available at
For more information on The Darlington Film Club, please visit
Special thanks to James Watson, LG White, Bish, Miss H. and, of course, Richard Stanley and Simon Boswell.
For more ramblings, follow Matty Budrewicz on twitter: @mattybudrewicz