Electric Dreamhouse ‘MIDNIGHT MOVIE MONOGRAPHS’ NEW TITLE announcement!
I’m intensely proud of what we’re doing with Electric Dreamhouse, immensely pleased that readers and critics seem to get what we’re aiming for and appreciate what we do. But I still have to pinch myself sometimes that it’s actually happening. That the people I work with actually WANT to work with me . . .
Case in point: about a year and a half ago . . .
Stephen Laws and I hosted an ‘Evening With John Connolly’ in Newcastle as part of the Novocastria Macabre genre events we do up here. John was touring with the 10th Anniversary edition of his wonderful novel THE BOOK OF LOST THINGS. Afterwards, we went for pizza and nattered about books and movies and what we all were up to, and I told John about Electric Dreamhouse and the Midnight Movie Monograph series we’re doing. Somewhere in the conversation, John said he’d be up for writing one.
I honestly can’t remember if I was bold enough to ask him if he would—I’d had a drink, so it’s possible—or whether John just volunteered based on what I’d told him about the books and what it was we’re trying to do . . .
I emailed him the next day to make sure I hadn’t dreamt it . . .
Was he sure? He must be a very busy man . . .
Yes. He was sure, but he’d need to think about what film he’d like to write about.
Over the next few months we kept in touch . . .
. . . me figuring it would happen when it happens, and we’d work around his schedule (best selling author and all that, y’know . . .he really is a very busy man). Somewhere in there, he told me he thought he’d like to write about a not-all-that-well-known Spanish/UK co-production from 1972 called HORROR EXPRESS.
At that point, I hadn’t seen it, but knew the film by name and mentioned it to Stephen Laws. “Oh, it’s wonderful! You have to see it!” And he dug me out a dvd for the next time that I saw him.
I watched it.
He was right. It was SO much fun.
By this point John was pretty sure this was going to be the film he’d write about. There was nothing else that he was really interested in, even though he’d seen the movie only once, when he was a kid. Still, it had made such an impression at the time, it was all that he could imagine spending thirty thousand words exploring.
That was fine by me.
Are you sure? It’s not exactly a classic . . .
I was sure.
I mean, it’s not even all that well known . . .
I was sure.
And so John went to it.
And oh my did he deliver . . .
The book that John has written is one in which we accompany him as he explores Why? Why this film? Why has it stayed with him? Why does it so draw him now? And will it stand up to youthful remembrance?
If you know John Connolly’s writing, you perhaps might know what to expect, it is warm, it is funny, it is thoughtful, and it is surprising.
What John delivers in this book, is something I found quite moving. In looking back at this seemingly insignificant little exploitation film that found it’s cast and crew by quite the strangest ripples of the butterfly effect, he manages to touch on something universal, something that lies at the very heart of why Electric Dreamhouse, and the Midnight Movie Monographs, came to be: the way small strange movies find their way in to our hearts; mark us in ways their makers could never possibly foresee. The way these small strange movies can change our lives… because they’re Art.
HORROR EXPRESS (Panico en el Transiberio) by John Connolly will launch as part of the Irish Film Institute’s annual Horrorthon in Dublin, on Saturday October 26th, where John will introduce a screening of the film and be signing books.