Author Archives: The Hyphenates

The Wes Anderson Cheat Sheet

Want to become an instant expert in our filmmaker of the month without committing yourself to an entire filmography? Then you need the Hell Is For Hyphenates Cheat Sheet: we program you a double feature that will not only make for a great evening’s viewing, but will bring you suitably up-to-speed before our next episode lands…

THE ROYAL TENENBAUMS (2001) and THE GRAND BUDAPEST HOTEL (2014)

Some people feel that Donnie Darko is the best indie film of 2001. What this post presupposes is: maybe it isn’t. If Hi4H is somehow ground zero for your experience with the works of Wes Anderson, you cannot do much better than to recommend you The Royal Tenenbaums. This story about an estranged family of geniuses is almost everything you need to know about Anderson’s style: it’s incredibly funny, genuinely touching, and an absolute aesthetic delight, with the formal lines and bright colours Anderson would become known for deployed to full effect. To be honest, this film is probably all you need to get a firm grasp on Wes Anderson, but the moment it’s over you’re going to want to watch some more. Your evening continues with The Grand Budapest Hotel, his Stefan Zweig-inspired Mandelbrot about the employees and guests at a hotel in the fictitious land of Zubrowka, particularly concierge Gustave H (Ralph Fiennes in an all-time performance). Anderson nudges his already-fantastical style even further away from reality, so that it almost feels at certain points as if we’re watching a marionette show or stop motion cartoon. The eccentricities are undercut by a genuine darkness, yet the film remains a complete delight; hilarious and gorgeous and eminently rewatchable.

Substitutions: If you can’t get or have already seen The Royal Tenenbaums, check out Rushmore (1998). Anderson’s second film is the one that him on the map, with endlessly quotable lines and Jason Schwartzman’s ostentatious Max Fischer high schooler easily one of the more memorable characters in recent years. If you can’t get or have already seen The Grand Budapest Hotel, get your hands on Moonrise Kingdom (2012). Set in the 1960s, Moonrise follows two 12-year-olds who fall in love and resolve to run away together. A maelstrom ensues as their friends, family and the police take off in search of them, in this stunning fable of love and danger.

The Hidden Gem: Want to see something off the beaten path, a title rarely mentioned when people talk about Wes Anderson? With a filmography as taut as Andersons – at time of writing, a total of eight released features with a ninth in production – it’s difficult to find a lesser-known film. So we’re compelled to recommend Bottle Rocket (1996), his debut feature, and the one that has still gone unseen by many whose first taste of Anderson came with Rushmore. This indie crime film feels perfectly at home in the canon of mid-1990s indie crime cinema, and is a fantastic origin tale for one of our most remarkable filmmakers.

The next episode of Hell Is For Hyphenates, featuring Britt Hayes talking Wes Anderson, will be released on 31 July 2017.

Our Next Hyphenate Britt Hayes

Film critic, author, and Hi4H July 2017 guest host Britt Hayes

If you like your film talk funny and your analysis smart, then you’re either a fan of Britt Hayes, or you’re about to be.

Britt is the associate editor of the entertainment website ScreenCrush, and has been a regular contributor to Birth. Movies. Death. (formerly Badass Digest) since its inception. She is the author of I Should Just Not, a biographical book tracking the experience of online dating from the perspective of someone who “just wants to hang out with someone, eat pizza and watch The Wire”.

She’s talked film on the popular /Filmcast, the ScreenCrush Long Takes podcast, on US radio, and now – in what we can only assume is her most exciting media appearance to date – on Hell Is For Hyphenates!

But which filmmaker has Britt chosen to discuss with us on the show?

None other than US indie wunderkind Wes Anderson!

For those not familiar with his work, Wes Anderson is the director behind Bottle Rocket (1996), Rushmore (1999), The Royal Tenenbaums (2001), The Life Aquatic with Steve Zissou (2004), The Darjeeling Limited (2007), Fantastic Mr Fox (2009), Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014).

He gained a cult fanbase almost immediately, with his distinctive visuals and idiosyncratic dialogue marking his style in an era when naturalism, shaky cameras and muted colours were the norm. His technique has been endlessly analysed and parodied, and he’s been a Hi4H near-miss since the show began, winning the dubious honour of being the most popular second choice amongst our previous guests.

But bridesmaid no longer, as the films of Wes Anderson will be the focus of our very next show. What is it about his works that appeals to many, and in particular Britt? Join us on July 31 when we find out!

Our next filmmaker of the month, Wes Anderson (picture credit: Jonathan Short/Associated Press)

Cargill On De Roche

We have a lot of rules on Hyphenates, all of them self-imposed. A lot of the time they make sense: we always make sure a new release from a past Filmmaker of the Month is given preference in the reviews, for instance. This makes sense if you, say, cover Sofia Coppola’s career around the release of Somewhere and want to keep up to speed on where she’s heading.

This 30 Rock joke from 2011 has aged all too well.

So what happens when we’re cursed to watch the films of, say, Michael Bay forever more? And what must the person who first cursed us think of this prison? And what happens if that person just happen to return to the show exactly five years after their original appearance, at the exact moment Bay’s opus prime Transformers: The Last Knight is released into cinemas in much the same way a calicivirus is released into a population of wild rabbits to bring their numbers down?

You’ll have to listen to this episode to find out, because we are legitimately delighted to be joined by C. Robert Cargill, who first joined us in June 2013 in defence of Michael Bay’s unique brand of auteurism. Cargill, a former film critic now full-time screenwriter and author, has, since his last appearance, since worked on the horror sequel Sinister 2, the Marvel Studios blockbuster Doctor Strange, and many secret upcoming projects we unsuccessfully grilled him about once the mics were off.

So what compelled Cargill to return to the show? He wanted to talk about the films of his screenwriting guru, the one and only Everett De Roche. If you’re unfamiliar with De Roche and why he’s such an influential and beloved figure, you’ll really have to listen to this month’s show. You’ll leave it wanting to watch everything the man ever wrote.

Before we get to De Roche, however, Cargill joins us to talk about some of the films of this month: Transformers: The Last Knight, The Mummy and Wonder Woman. Do you spot the one big thing those films all have in common? No, the other thing. Yes, they’re all building blocks for ambitious, multi-billion dollar interconnected universes. Not just the usual bunch of sequels, but spinoffs and crossovers and films that explore other corners of the world created.

So, given we’re joined by a writer who worked on a Marvel film, we had to ask the question: how do you create a successful cinematic universe now that everyone is trying? Is this behemoth model sustainable? What’s the future of this franchise format?

It’s another tri-continental show as Cargill joins us from Austin, Texas for a jam-packed episode of Hell Is For Hyphenates you can’t afford to miss.

Everett De Roche cameoed in many of his films. Blink and you’ll miss him sitting in the pub as Jim Caviezel heads off on a fateful Long Weekend (2008)

Further reading:

Reviews

  • To listen back to the episode from exactly five years ago, in which Cargill first appeared and cursed us with Michael Bay films forever more, click here.
  • And, exactly ten years ago almost to the day, Lee reviewed the very first Transformers on Australian community TV, which you can watch here.
  • Sophie mentions the MayBot’s possible appearance in Transformers: The Last Knight, referencing the British Prime Minister’s mainstream moniker. No action figures to speak of yet, though.
  • Also worth mentioning: during her epic Transformers rant, Sophie suggests a King Arthur equivalent of Godwin’s Law to punish anyone who resorts to a lazy referencing of the English legend. Only after we’d finished recording the episode did we hit upon the obvious name: Y Gododdin’s Law. There’s no chance it’ll catch on, but just in case it does, you heard it here first.
  • The non-Tom Cruise mummy film Sophie was referring to was The Night of Counting the Years (1969), directed by Shadi Abdel Salam. Restored by Martin Scorsese’s World Cinema Foundation in 2008. Now in public domain, it can be downloaded and viewed for free at the Internet Archive.
  • Cargill mentions the Mummy trailer that was accidentally released with half the soundtrack missing. Universal’s been trying to take them all down, but you can’t kill something once it’s on the internet. If this video disappears before you get to watch it, a quick search should find you a new one:

  • You can read more about the Technology/Transformation: Wonder Woman video art piece by Dara Birnhum here, and watch the video here:

  • Cargill refers to Born Sexy Yesterday, a trope identified by Pop Culture Detective, aka Jonathan McIntosh, in his recent video essay:

  • If you want to join our Saïd Taghmaoui love-in, you can follow him on Twitter, Instagram and Facebook.
  • The cyberpunk book that Cargill was adapting with writing partner Scott Derickson, When Gravity Fails, was written by George Alec Effinger, and won the Hugo Award for Best Novel in 1988. The book is available in print and digital from all the usual places.

Middle Topic

  • Want to know about all those shared universe properties Lee rattled off on the intro? Click the links to read more about the Stephen King TV show Castle Rock, Sony’s parallel Spider-man franchise, the currently-unconfirmed rumours about a JamesBond extended universe, for the sake of completeness here’s anoverview of the DCEU that Wonder Woman has just resuscitated, the monster mashed Dark Universe franchise possibly launched by The Mummy, and whatever the fuck is happening with Transformers.
  • Cargill talks about some of the slasher team-ups that were rumoured before the shared universe thing took off. These included Pinhead vs Michael Myers, Freddy vs Jason vs Ash, Freddy vs Michael Myers, Freddy vs Chucky and Chucky vs Leprechaun. It was an exhausting period.
  • Tommy Westphall’s snowglobe was basically fanfic Netflix

    The Tommy Westphall Universe theory suggests that most of television is the dream of one kid named Tommy Westphall who appeared in the final scene of the 1980s drama St Elsewhere. The suggestion is that all of the show was imagined by an autistic kid named Tommy Westphall. And if that’s true, then it must mean Homicide: Life on the Street is in his imagination as well, given two characters from St Elsewhere crossed over into that. And Homicide crossed over with Law & Order, which crossed over with The X-Files, which leads us to The Simpsons, and basically all of television including Arrested Development, Buffy, Seinfeld, and really everything you’ve ever watched. Fall down the rabbit hole here.

  • We didn’t mention it, yet no discussion of the shared universe concept is complete without mentioning the Wold Newton family, created by author Philip José Farmer in his books Tarzan Alive: A Definitive Biography of Lord Greystoke (1972) and Doc Savage: His Apocalyptic Life (1973). This theory unifies Tarzan, Doc Savage, Sherlock Holmes, Scarlet Pimpernel, James Bond, Sam Spade, Phileas Fogg, and many others. If you’re a fan of Alan Moore’s excellent comic League of Extraordinary Gentlemen, you need to check out Farmer’s work.
  • The Quentin Tarantino shared universe is a very real, very deliberate thing, and you can read more about its dual tiers here.
  • Lee’s unproduced sketch about Australia forming its own cinematic universe is reluctantly presented for you to download via this link.
  • Cargill mentions a Twitter convo he just had with comics writer Mark Millar and Kong: Skull Island director Jordan Vogt-Roberts, which you should be able to read if you click on this link.
  • If you want to know more about the Chinese figures of legend that Cargill discusses, you can click on these links for primers on Ip Man, Fong Sai-yuk, and Wong Fei-hung.

Filmmaker of the Month

  • The Bazura Project interview Lee did with Everett De Roche that partly inspired Hell Is For Hyphenates can be seen here.
  • We mention Brian Trenchard-Smith, the director of the Everett De Roche film Frog Dreaming (aka The Quest), and you can hear him on Hyphenates talking about the films of Quentin Tarantino.
  • And we also give a shout out to Mark Hartley, the director of Not Quite Hollywood, who was also on our show talking about the films of John Hough.
  • Cargill mentions his fantasy novel set in Australia. This is Queen of the Dark Things (2014), a sequel to his book Dreams and Shadows (2013), both of which can be bought from all the usual outlets, including actual physical shops (support your local bookstore, people).
  • Yes, Australian Prime Minister Harold Holt did go missing during a swim (as Cargill discusses in reference to De Roche’s film Harlequin) in 1967. Here are some of the facts surrounding the disappearance, and here’s the actual swimming pool we named after him, cos Australians generally don’t give a fuck.
  • The Edgar Allen Poe story that Cargill references in relation to Link is The Murders In Rue Morgue, which sets an awesome precedent for murderous orangutans. Read it here.
  • An interesting bit of trivia we didn’t get to in the show… we asked De Roche’s family if he ever harboured an ambition to direct, or if it was something he deliberately avoided. Their replied: “He’s always expressed an interest in directing. For one reason or another, the opportunity didn’t present itself in his lifetime.”
  • Check out these interviews with Everett De Roche, including this one from 1980 in Cinema Papers, this one from 2012 in Spectacular Optical, and this one from 2013 in Fake Shemp.
  • If you want to hear more of Cargill talking films, make sure you subscribe to his podcast Junk Food Cinema, available from Film School Rejects here.

Outro music: score from Patrick (1978), composed by Brian May

The latest episode of Hell Is For Hyphenates, featuring C. Robert Cargill talking the films of Everett De Roche, can be heard on Stitcher Smart Radio, subscribed to on iTunes, or downloaded/streamed via our website.

Hell Is For Hyphenates – June 2017

We are joined this month by screenwriter and author C Robert Cargill (SinisterDoctor Strange) as we look back at some of the biggest films from this month, including Transformers: The Last KnightThe Mummy, and Wonder Woman. Then, noting that all the films we looked at are building blocks for multi-tiered franchises, we look at the future of shared cinematic universes and look at whether this kind of big-budget world-building has a proper formula, or if it’s doomed to failure. Then, Cargill talks to us about his screenwriting hero and the godfather of the Ozploitation movement, Everett De Roche. De Roche was responsible for PatrickRazorbackRoad Games and many other films that helped define Australia’s screen identity. So how did Cargill get into his films growing up in Texas, and what influence did De Roche’s writing have on him?

The Everett De Roche Cheat Sheet

Want to become an instant expert in our filmmaker of the month without committing yourself to an entire filmography? Then you need the Hell Is For Hyphenates Cheat Sheet: we program you a double feature that will not only make for a great evening’s viewing, but will bring you suitably up-to-speed before our next episode lands…

PATRICK (1978) and ROAD GAMES (1981)

Everett De Roche’s career as a screenwriter was more than Ozploitation, but given he was a key figure in Australia’s defining cinematic movement, we’re going to focus on this phase to demonstrate why he inspired a fanbase all of his own. The first title that should be invoked when talking about not just De Roche’s career but Ozploitation as a whole is Patrick, the supernatural thriller about a nurse tasked with caring for a comatosed young man who may or may not be killing people with his mind. De Roche’s first collaboration with director Richard Franklin – one that would last 25 years – was the kind of scrappy, energetic blast needed in a film movement’s nascent stages. Patrick is a hell of a lot of fun, and one you’ll enjoy watching with some friends. After you’ve watched that, your evening continues with Road Games, the Rear Window-meets-Duel outback thriller featuring the distinctly American pairing of Stacy Keach and Jamie Lee Curtis. Also directed by Franklin, this film is a propulsive blast, with some all-time classic moments of suspense and craft.

Substitutions: If you can’t get or have already seen Patrick, check out Long Weekend (1978). Released the same year as Patrick, De Roche’s film about a married couple heading to the beach for a weekend getaway positions them as the antagonist and nature itself as the protagonist, with what appears to be an unintended environmental message the result of a perfectly simple horror idea. If you can’t get or have already seen Road Games, track down Razorback (1984), and we’ll only bother with three words to sell you on this one: Gigantic. Killer. Pig.

The Hidden Gem: Want to see something off the beaten path, a title rarely mentioned during discussions of De Roche’s work? You need to get your hands on Link (1986). Elisabeth Shue plays an exchange student at an English university who becomes a live-in assistant for a professor who is preoccupied with the training of super-intelligent chimpanzees… and then the killing begins. If, somehow, that’s not enough to convince you, then we should point out that the professor is played by Terence Stamp.

The next episode of Hell Is For Hyphenates, featuring C Robert Cargill talking Everett de Roche, will be released on 30 June 2017.

Our Next Hyphenate C Robert Cargill

Author, screenwriter, and Hi4H June 2017 guest host C Robert Cargill

Our unofficial, not-at-all set-in-stone rule of not repeating any guests – wonderful though all our guests have been – was broken in 2014 when we marked our 5th anniversary by having our very first guest, Thomas Caldwell, join us exactly five years on.

This month, we’re doing it again: five years ago, screenwriter, critic and author C Robert Cargill joined us on the show, and now he’s back! At the time, his first feature film credit, Sinister, co-written by that film’s director, Scott Derrickson and starring Ethan Hawke, had just been released.

He’s clearly kept busy in the intervening years. He’s released two fantasy novels, Dreams and Shadows and its sequel Queen of the Dark Things. He has also written Sinister 2 (with Derrickson), as well as the Marvel movie Doctor Strange (with Derrickson and Jon Spaihts), starring Benedict Cumberbatch, Chiwetal Ejiofor, Rachel McAdams and Tilda Swinton. We’re yet to grill him about his upcoming projects, but the internet tells us he and Derrickson are currently working on feature film adaptations of both the video game Deus Ex and the classic anthology series The Outer Limits.

But why is he returning to Hyphenates? Which filmmaking icon has inspired him to once again enter the hellish sanctum?

Five years ago, he talked to Paul and Lee about the films of director Michael Bay. This month, he’ll be talking to Sophie and Lee about the films of screenwriter Everett De Roche!

This isn’t the first time that our guest has defined the term “filmmaker” as screenwriter – and this is certainly an approach we encourage, given the concept of auteur should not be limited to just the directors. This is an easy case to make when we’re talking about someone like Everett De Roche, who helped define not just an era in cinema, but the screen identity of an entire nation.

De Roche got his start writing for some of Australia’s biggest television institutions – including Homicide, Bluey, The Flying Doctors, Fire, Good Guys Bad Guys, Stingers and many more – before playing a key part in the resurgence of 1970s and 1980s Australian cinema that would come to be known as “Ozploitation”.

De Roche wrote a lion’s share of the era’s classics, including Patrick (1978), Long Weekend (1978), Road Games (1981), Razorback (1984), as well as penning the adventure film Frog Dreaming (1986). He worked with directors such as Richard Franklin, Simon Wincer, Russell Malcahy, Jamie Blanks, and Hi4H alum Brian Trenchard-Smith.

Sadly, De Roche passed away in 2014, but not before experiencing an unexpected burst of fame when, during a visit to Australia in 2008, Quentin Tarantino announced: “Almost everything that Everett De Roche wrote is one of my favourite films.” As if on cue, every gen-y film fan in Australia rushed to imdb to find out what they had to catch up on, and the De Rocheassance was born. (Look, the term might take off. You don’t know.)

So what was it about the films of Everett De Roche that appeals to C Robert Cargill? Join us on June 30 when we find out!

Our next filmmaker of the month, Everett De Roche

Marshall On Dante

“I am aware that I have to please the comic fans, the Mignola fans, I gotta appease the Del Toro fans and somehow keep everybody happy or at least give them something new. The bottom line is I just gotta make a really great movie.”

Seven years is a significant number. It’s the number of years it took Richard Sherman to get an itch. It’s how long Brad Pitt spent in Tibet. It’s the amount of time Max Linder was doomed to suffer after breaking that window. (You can deep dive imdb for alternative examples if you so desire.)

It may not be a big round number, but we still wanted to mark the occasion with something significant, and that we did: this episode marks the first time that our guest was once our filmmaker of the month! It’s a milestone we’ve been hoping to reach for quite some time, and after contacting Neil following our coverage of his films in the April episode, were delighted when he agreed to join us!

After Sophie and Lee chat about some of this month’s new releases – including Jordan Peele’s horror comedy Get Out, Ridley Scott’s presequel Alien: Covenant, the latest Pirates of the Caribbean entry Dead Men Tell No Tales, and British comedy Mindhorn – Neil joins us from LA (not Vancouver).

We take this opportunity to, somewhat indulgently, ask him about what it was like to listen to the episode about his films, how strange it is to hear people talk about your work, and whether or not we got anything significantly wrong. Neil has also just been announced as the director of the next Hellboy film, following on from Guillermo del Toro, and the reaction to news of the reboot probably got him more press than any of his films. We get a little bit out of him about Hellboy, and his insights into what it’s like to be at the centre of a media storm is fascinating.

Dante’s two most frequent on-screen collaborators, Dick Miller and Robert Picardo, appear together as garbage collectors in The ‘Burbs (1989)

Then Neil takes us into the works of his own selected filmmaker of the month: Joe Dante. Neil grew up watching Dante’s films, and finds it surreal that he is essential now a colleague of Dante, directing him in an anthology film and even contributing to Dante’s website Trailers From Hell. But here Neil talks about why he loves Joe Dante’s films so much, and the effect they had on him at a young age. What inspiration did the director of Dog Soldiers draw from the director of The Howling? You’ll have to listen to find out!

Further reading:

Outro music: “New York, New York”, written by John Kander & Fred Ebb and performed by Tony Randall, from Gremlins 2: The New Batch (1990)

The latest episode of Hell Is For Hyphenates, featuring Neil Marshall talking the films of Joe Dante, can be heard on Stitcher Smart Radio, subscribed to on iTunes, or downloaded/streamed via our website.

After covering John Landis, Steven Spielberg and now Joe Dante on the show (in that order, too), we just need a George Miller episode to complete our collection of Twilight Zone: The Movie directors.

Hell Is For Hyphenates – May 2017

It’s the 7th anniversary of Hell Is For Hyphenates, and to mark the occasion we are joined by a guest who was, just last month, the subject of our filmmaker of the month segment: horror filmmaker Neil Marshall! We kick off this episode with reviews of some of this month’s films, including Jordan Peele’s horror comedy Get Out, Ridley Scott’s sequel-to-a-prequel Alien: Covenant, the fifth Pirates of the Caribbean film Dead Men Tell No Tales, and the British comedy film Mindhorn. Then Neil talks about what it’s like as a filmmaker to listen and read criticism of his films, and what influences that has on his work. Finally, Neil takes us through the films and career of one of his biggest inspirations, a director of comedy, horror, fantasy, and much more besides, Joe Dante!

The Joe Dante Cheat Sheet

Want to become an instant expert in our filmmaker of the month without committing yourself to an entire filmography? Then you need the Hell Is For Hyphenates Cheat Sheet: we program you a double feature that will not only make for a great evening’s viewing, but will bring you suitably up-to-speed before our next episode lands…

THE ’BURBS (1989) and GREMLINS 2: THE NEW BATCH (1990)

Don’t let the fact that The ’Burbs is incredibly silly and funny distract you from the fact that it is also an incredibly clever satire on the veneer of the American Dream. At the tail end of the Reagan era and the Cold War, Joe Dante made a film about white America’s fear of foreigners, set in an idealised neighbourhood whose pristineness belies a rotten, ugly heart. Tom Hanks stars as the quintessential middle-class husband and father who has a growing suspicion of his unusual neighbours, and, egged on by the mob mentality of other members of the suburban cul-de-sac, ignites chaos and destruction. It’s possibly Dante’s cleverest work, and a potential insight into his worldview. Your evening continues with a viewing of Gremlins 2: The New Batch. The original Gremlins is widely considered the superior film, but we’re going to make a case for the sequel. The point of the Cheat Sheet is to give you everything you need to know about the director in the space of two films, and Dante’s predilection for Looney Tunes-inspired wackiness and meta-textual gags that trample uncaringly over the remains of the fourth wall make Gremlins 2 the irresistible choice. Film critic Leonard Maltin appears at one point in the film, trashing the original Gremlins on screen before he himself is attacked by Gremlins, who then stop the actual film we’re watching as we’re watching it, taking over the cinema we are presumably in! The first Gremlins felt like Dante meeting the audience halfway; the sequel feels like Dante Unleashed. Watching these two films back-to-back should tell you everything you need to know about what makes Joe Dante tick.

Substitutions: If you can’t get or have already seen The ’Burbs, track down Innerspace (1987). It’s not exactly the suburbam satire that The ’Burbs is, but it’s the perfect mix of action and comedy, and one of the most eminently rewatchable films Dante has made. Who doesn’t want to see Dennis Quaid shrunk to microscopic proportions and injected into Martin Short’s arse? Crazy people, that’s who. If you can’t get or have already seen Gremlins 2: The New Batch, get yourself a copy of Looney Tunes: Back In Action. After years of emulating the Bugs Bunny aesthetic on screen – and collaborating more than once with the great Chuck Jones – Dante fulfilled what was surely a prophecy from the mists of time, directing the 2003 live action Looney Tunes film. Though it doesn’t quite reach the peak of the original cartoon (but what since 1964 has?), it’s still far more in the spirit of the classic series than every hipster’s favourite ironic go-to reference Space Jam. You know it’s true.

The Hidden Gem: Want to see something off the beaten path, a lesser-known work from Joe Dante’s filmography? We recommend you take a look at 1993’s Matinee. Dante’s love letter to William Castle features John Goodman as a schlocky film producer promoting his horror film Mant! in southern Florida as a group of movie-loving kids try to cope with the Cuban Missile Crisis. We’ll likely never see a movie-length dramatisation of Joe Dante’s childhood, so Matinee is probably the next best thing.

The next episode of Hell Is For Hyphenates, featuring Neil Marshall talking Joe Dante, will be released on 31 May 2017.

Our Next Hyphenate Neil Marshall

Writer, director and Hi4H May 2017 guest host Neil Marshall

A big question kicking around Hi4H headquarters since we released our first episode in May 2010 has been this: who will be the first person to be both a guest and a filmmaker of the month? We’ve talked about a lot of very talented and very still-alive filmmakers on the show… and have tried to lure many of them on as guests, coming awfully close a couple of times, but to no avail. Until now!

Those who listened to our most recent show – featuring Scott Weinberg talking the films of Neil Marshall – heard the revelation that our next guest will be none other than Neil himself!

If you are yet to listen to last month’s show, a) hurry up, and b) here’s a rundown of Neil’s bonafides: he is an English filmmaker best known for horror films such as Dog Soldiers (2002), The Descent (2005), Doomsday (2008) and Centurion (2010), as well as his high-profile television work that has included Game of Thrones, Hannibal, Constantine, Black Sails and Westworld. And about 24 hours ago it was announced he’s directing the reboot of Hellboy with David Harbour in the lead role! (The timing of the Hellboy announcement with this announcement is complete coincidence, although we’re more than willing to pretend we were in on it the whole time and this was deliberately-timed synergy.)

Of course, all of that is far less important than his next role: that of Hell Is For Hyphenates guest host!

So which filmmaker will Neil be joining us to talk about?

None other than Joe Dante!

Dante is a beloved director for cinephiles who grew up in the 1980s and 1990s. This was the era in which high-concept fantasy and self-aware comedy merged to push big budget Hollywood films into what would eventually be referred to as “geek” cinema, with directors such as Steven Spielberg and George Lucas helping to turn the niche into the mainstream.

Joe Dante was one of the key figures of this movement. From his beginnings directing episodes of the groundbreaking comedy series Police Squad!, to his early films such as Hollywood Boulevard (co-directed with Allan Arkush), Dante was quickly established as someone with a sincere love of genre films and a keen sense of humour.

With a career including Piranha, Twilight Zone: The Movie, The Howling, Gremlins, Innerspace, Explorers and The ’Burbs, he defined the movement of multiplex cinema that was exciting, fantastical, smart, and above all fun.

So what is it about Dante’s films that specifically appeals to Neil? Join us on May 31 when we find out!

Our next filmmaker of the month, Joe Dante