Anti-queer violence & spiritual/community protection

I work part-time at a queer non-profit that does activism and outreach around issues of spirituality, religion, ministry, and LGBTQ communities. I just had a big “this is why I do the work that I do” moment.

An older, disabled queer man who lives in a poor city on the outskirts of the Bay Area just called the office. His life was threatened this weekend, in part because he is queer. He’s trying to get a restraining order against the person in question, and he went to the police. He was basically told that because the threat was homophobic, the police “can’t do anything.” He’s scared, vulnerable, and very isolated.

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He used to be a seminarian, which is why he called my office. First he just said he wanted to speak with our executive director — but when I asked why he was requesting a meeting with her (to give her more context for the meeting request) he sort of nervously rambled out his story, and ended with, “I’m scared. I need resources. I’m disabled and isolated and I try to make it out to San Francisco to welcoming church communities, but sometimes that’s hard, and there’s nothing where I live. I’m wondering if there’s anything closer, any other resources, since the police are obviously not helping.”

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Horror/Sci-Fi Great O’Bannon Brings the Pain

It’s been a while since anything new written by sci-fi and horror master Dan O’Bannon hit the screen.

Either working alone or in tandem, O’Bannon piled up monumental, genre-defining films in the 70s and 80s. From Return of the Living Dead and Dark Star to Alien and Total Recall, O’Bannon penned some seminal scary moments. He even wrote the coolest part of Heavy Metal (B-17). Now, according to Screen Rant, O’Bannon is returning to the horror genre with a new script, The Pain Clinic (co-written with Donald Grail).

The story tells the flesh and blood tale of a man who heads to a cutting edge medical facility to help with his desperate back pain. But, he’s ill prepared for what he discovers inside the clinic and inside himself. Filmmaker and non-wrestler Brett Hart (Bone Dry) is set to direct.

Image Courtesy Fox

For more insight into where O’Bannon conjures up his nightmares and how he crafts his stories, this reporter turned to an exclusive interview performed with the bow-tie clad writer some time ago as he discussed his overall body of work.

O’Bannon converses more like an experienced college professor than one of the most prolific and successful screenwriters in the action, science fiction and horror genres. However, while the educated and soft-spoken scribe enjoys discussing academic theories of narrative and film history acheter les cialis generiques en ligne maintenant, he knows a little about constructing an entertaining movie, too.

In this interview, O’Bannon managed to analyze his career, his abilities, his industry and his life. While most often identified with expensive, technically advanced thrill rides and fright fests, O’Bannon didn’t necessarily set out to become a big-budget action or horror writer.

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“That’s the way it worked out,” O’Bannon said. “When I started inventing stories, they were expensive to do.”

He explained, “Other writers write good scripts that don’t cost a fortune to make. They get their dramatic value from a few characters. I get mine from advanced technology or an expensive location.”

He said that the differences in story-telling aptitude match the temperament of the writers involved: “I have difficulty thinking kaufen cialis up a low-budget idea. I’ve written horror, comedy and melodrama, but the action, sci-fi and horror were simply my most successful areas.”

“I have a low boredom threshold,” he said. “Some writers can write the same thing over and over again and remain happy with that. But I only enjoy doing something that I have not done before. If I’ve done it well, I don’t want to do it anymore. Once I know how to do something, it loses interest for me. I don’t care anymore.”

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“I still do assignment work as a screenwriter,” he said. “In those situations, you more or less just clock in. On assignment writing, they hire you to do what you’ve done successfully in the past. They essentially hire you not to stretch.”

Among his original stories, O’Bannon identified two screenplays as especially gratifying to him: “Alien and Total Recall were very enjoyable to write. I managed some good turns in those stories that satisfied me.”

“The world doesn’t always get to see some of those turns because other people kick them out of the movie. But, as scripts, those two stories were satisfying.”

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The writer identified one of the most important lessons he learned while writing his modern horror classic, Alien. O’Bannon recounted the theory and repeatedly stressed how horror writers these days need to rediscover its use.

“With Alien, I figured out quite simply that, as an audience member, what you DON’T see scares you more than what you see. In horror films, the scares that really grab the audience and build the tension for them don’t come from the monster jumping out of the shadows. The terror comes from the slow times in between those pay-off scenes in which the characters are talking and planning — waiting for something to jump out at them.”

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O’Bannon bemoaned the inability for most modern horror and sci-fi writers to figure out that lesson: “They often fill the movie up these days with the monster doing terrifying things, but there ends up being too much of it. The terror still comes from the in between.’”

“Plus, the movies need to have smaller scary moments during the down time between the monster’s appearances, not just lulls so the audience can catch their breath. You need to use that time for something.”

But, having explained “the terror in between” concept, what scares the writer of Alien?

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