Posts Tagged ‘Ray Bradbury Film Festival’

Two items today, the first being the receipt of the contract from L. Andrew Cooper and Blackwyrm Publishing for “Marcie and Her Sisters” to be in REEL DARK (see March 13).  “We’ll be arranging the TOC and copy editing over the next few weeks . . . and we should be in print for a small-run bunch at the World Horror Convention and Bram Stoker Awards® in Atlanta, May 7-10.”  So things happen fast sometimes when they happen:  first sending back last evening’s contract for “The Good Work” to BLURRING THE LINE, now filling the blanks and readying REEL DARK’s to be returned tomorrow morning.  And, as for “Marcie,” to quote once more from this (early) morning’s email, “[you] will be in diverse company, but you all have in common two things:  a dark sensibility, of course, but also an incisive perspective that will challenge the way people think and feel.  I couldn’t have wished for more.”

Then this evening (speaking of movies and darkness) marked the start of the Indiana University Cinema’s Ray Bradbury Film Festival — officially titled “Ray Bradbury:  From Science to the Supernatural” and with a number of co-sponsors including the Center for Ray Bradbury Studies and the IUPUI Arts & Humanities Institute (see also November 20 2014) — with further screenings set for Thursday, Friday, and Saturday.  Tonight what we saw was a program of five short films and TV dramas, “Icarus Montgolfier Wright” by Bradbury in collaboration with illustrator Joe Mugnaini; “And the 208px-The_Martian_Chronicles_(TV_miniseries)Moon Still as Bright” from the 1980 TV mini-series adaptation of THE MARTIAN CHRONICLES, teleplay by Richard Matheson; “The Burning Man” from the 1980s revival of THE TWILIGHT ZONE (beginning the move toward “the supernatural” but also one of the most “Bradburyesque” in feeling); “Marionattes Inc.,” 1985, RAY BRADBURY THEATER; and 1964’s “The Life Work of Juan Diaz” from THE ALFRED HITCHCOCK HOUR, story and teleplay by Bradbury and reportedly Hitchcock’s own favorite from the final season after moving to the one-hour format in 1963.

Bradbury, we were told, doted on movies, often going to eight or nine films a week as a teenager in Los Angeles as part of his preparation for becoming a writer.  These would have included probably far more bad films than good ones, but he is also understood to have said “you learn more from trash than excellence,” noting that “excellence is mysterious while trash is obvious.”  Then I might add that this program is of especial interest to me in that not only do I watch a lot of films myself, but in various interviews I’ve done I’ve almost always listed Ray Bradbury as one of my own major influences.

See you again at the movies Thursday night?


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