Tommy Lee Wallace [Interview]

Tommy Lee Wallace

The world of horror cinema has been littered with some pretty ingenious folks.  And while some names ring louder than others (Craven, Barker, Carpenter, etc.) there are several others involved in this world who have done just as well as to scare the shit of you over the years as the big dogs have.  Especially a man like Tommy Lee Wallace.  This is the man who has not only teamed up with his life long friend John Carpenter on damn near every project John has ever been a part of, but he has brought you several legendary films that more than likely still haunt your dreams.  I know that his visual adaptation of Stephen King’s It has given me a lifelong fear of clowns (thanks a bunch, Tom).   His continuation of the Halloween series on the third installment was by far the finest sequel that series has had to date.  And he is showing no signs of slowing up as he is releasing the highly anticipated Helliversity in the near future.  We were awarded the chance to talk to Tommy about his up coming project, working with John Carpenter, and much more.  Enjoy!

The 1989 film Far From Home in which you were the screenwriter for was quite the departure from you usual body of work. What inspired to you to tell this tail? Was it personal?

Far From Home came from an original script by Ted Gershuny — my rewrite steered the story more into Pinky’s psychosis — and the notion that young people imitate what they see on television — a popular idea at that time. Hardly a departure for me, in my opinion; look at the themes around Halloween 3 – Season of the Witch. TV is one of the most important influences on our culture in the last hundred years. Note I didn’t say “positive”. I was also drawn to the setting — coming from Kentucky, I find the vast expanses of the western deserts sometimes grim, often beautiful, and always absolutely fascinating — a potential breeding ground for all sorts of mysteries and secrets, big and small. Area 51 comes to mind. I also loved the childhood romance and rites of passage — that’s certainly what attracted me to IT, as well.

Your extremely impressive catalog of work includes a great abundance of sequels including Fright Night 2, which was based on our dear friend Tom Holland’s original story, as well as several others. Is there much pressure in carrying on someone else’s story?

Of course there’s pressure, if you do it well. Sequels are strange animals. They can be crass exercises in pure exploitation of a successful title, or they can move an interesting and popular story along, expand it and offer new chapters, in a novelistic, expansive way. Speaking of Tom Holland, when Fright Night 2 popped up, I went to Tom to pick his brain a little, just tease out his thoughts, because I thought it might help me give the sequel a sense of veracity and continuity. I don’t remember what got said, really, but I was glad for the exchange. It gave me a sense of confidence about the whole thing — a passing of the torch, I guess. I’m really proud of Fright Night 2 — we’re trying to get something going in the way of a new DVD — it’s a gorgeous wide-screen movie, and should be seen that way.

You have also been the mastermind several made for television movies and mini-series, notably the film that ruined the appeal of clowns to generations past and generations to come, the adaptation to Stephen King’s IT. Tell us, how is making films directly for television different from creating for cinema? How are the similar? And do you have a preference?

Television MOWs, pilots and minis are not much different from movies, as long as the producers understand what a director needs, and give proper support. Series, episodics, sitcoms, three- and four-camera shows — that kind of television is a different animal, and a film director is generally less central to the process there, in favor of a producer or two, or seven, or twelve. It’s all an issue of control and vision. In movies, the director is usually the person to whom falls the central and most crucial task of bringing a script to visual life. In order to fully achieve that, he or she must be in a position of ultimate authority. In TV, that same role often falls to the Writer/Producer, with the Director acting more as a traffic cop for the actors, and perhaps a supplier of clever and exciting shots.

Tommy Lee Wallace2I have enjoyed some real high points in TV, including, of course, IT, and another mini-series that followed that one, And the Sea Will Tell, a true-crime drama starring Rachel Ward and Richard Crenna. It’s worth watching, and was a great TV experience. I love TV, and think some incredible stuff has been happening there for the past several years, in a kind of new Golden Age — The Wire, Mad Men, Dexter, Breaking Bad, the list goes on and on — but in the end, I prefer feature films.

Of all the sets you have been on over the years, which has had the best crafts services? Why, and was there any correlation with the film/show itself?

The most recent one, “HELLIVERSITY”. Someone near and dear to me is running craft service — my daughter India. It’s the best — and so is she.

How did you come to work on so many projects with John Carpenter? And what do you think it is that has made you guys such a great team for almost thirty years?

John and I go all the way back to childhood in the same grade school. We became close as teenagers, when our lives were built around making music — first in our own folk group, then in a couple of different rock and roll bands. We shared interests in comic books, horror, sci-fi and western movies, Beatles and Stones, basketball, girls, drinking beer, all that stuff. John was focused like a laser beam on film directing from a very early age; I wandered into it through art and design. He found his way to southern California, and I followed three years later. Making movies together was a natural process. He used his friends to help him realize his vision, and I was right there in support. He’s always been a bit more the mentor, and me more the student, but we’ve learned a lot together. We partner well because we have a huge common background and share a deep friendship, but are very different people.

What is the set dynamic usually like when shooting a horror film? Is it always dark? Is there ever a chance for laughter?

It’s almost never dark. Any well-run movie set is a friendly and businesslike, if sometimes frantic, endeavor, in which a group of people carry out a series of tasks to achieve an effect, that being the visual telling of a story. In the case of horror, there’s often something grim and scary going on in front of the camera, but numerous funny situations develop behind the camera to achieve that effect. There are frequent laughs. A bucket of fake blood and a Mole fogger aren’t scary on set — they’re funny, in some quintessential way, and the essence of horror movies.

Tommy Lee Wallace3The opening sequence of Halloween is, by now, pretty well known, a big, bravura single shot which goes all around the Myers house, upstairs and down outdoors and in, telling the story of young Michael’s beginnings as a psycho killer. It took us all day to prepare that shot. There was the usual team around camera: Focus-puller, D.P. with hand-held fill light, guy with flag to fight light flares — then there was another lineup of people trailing along behind: Debra Hill the Producer, wearing the clown suit (childlike hands reach into drawer, pull out knife), there was me with that bucket of blood and a paint brush, ready to zap Michael’s sister from behind camera as she’s getting fake-stabbed, there was the sound guy with his boom, there were guys guiding and spotting the camera operator, so he didn’t stumble and didn’t run into stuff, there were guys and gals jumping through windows to re-light the set for when we came back through the room in a reverse angle — when we finally ran the whole thing, it was like the Keystone Kops, and if you could have heard the production track you would have heard gallumping footsteps like a herd of elephants, people crashing around doing their work and then hiding from the lens, whispering, even suppressing laughter — does this sound grim or somber to you? It was a ridiculous circus caravan of a shot — once we had it up and running, and working, it was a thrill to be a part of, but it was also absurd-looking, and very funny.

Can you tell us a bit about your upcoming film Helliversity?

Small town in the south, small college that was once all African-American. A mixed group of students decides to stay on campus for Thanksgiving break. Meanwhile, while researching a project, one of the students finds an artifact from Jim Crow days, an execution hood said to be the one in which notorious racist Sheriff Ewing “Killer” Kane was electrocuted back in 1936, for spree-killing a group of students one grisly night. A lightning storm releases Kane’s dark spirit from the hood, it finds a new host in a young campus cop, and Thanksgiving turns a bit grisly for this group, and this campus. Trapped in a security-minded environment with high walls and electrified fences, our students fight for their survival against an unspeakably evil and supernatural force.

What was the last thing that made you smile?

This question.

Sadistik: Flowers For My Father [Album]

Sadistik - Flowers For My FatherAt this point, Cody Foster a.k.a. Sadistik is a household name down here at Trainwreck’d Society.  We have featured him.  We have interviewed him.  And now, we are kicking off his album review status here.  Sadistik released his first solo album since 2008, his delightfully compelling album Flowers For My Father.  And damn it as it is, Sir Cody has a whole lot to deal with over the last 5 years since his last album.  He watched his father pass, hence the name of the album.  And he also felt the loss of one of his cohorts and idols Michael Larsen, a.k.a. Eyedea.  And as sad as all of this is…. Sadistik has managed to create one of his finest works to date despite (or because of) the despair he has suffered over the last few years.

Flowers For My Father, in its entirety, is truly a wonderful showcase of a truly brilliant artist who obviously loves what he does for a living.  Each track is another story so beautifully told, it feels as though Sadistik is ripping his heart from his chest, throwing it in a pile of rose petals and carving his thoughts directly onto its surface.  Everything is so personal and bewildering it is almost hard to keep up, strategically leading a listener to give the album a couple of dozens of listens before truly feeling the album as a whole (or taking a shit eating music blogger months to do a simple write up for an album that came out months ago, sorry Cody!).

The man himself is definitely in good company on this album as well.  The friendship he has shared recently with indie songstress Anna-Lynne Williams has the internet going wild, and her cameo (as Lotte Kestner) on the utterly compelling cut “City of Amber” is definitely a combination of creativity that is an obvious highlight of the album.  Other notable cameos of the album come from Cage & Yes Alexander on “Russian Roulette”, Child Actor on “Palmreader”, and Deacon the Villain on “Kill The King”.  But it would behoove me to note that Sadistik rips it all on his lonesome on the opening cut “Petrichor”, which is a song that will surely be the short action soundtrack to this man’s already illustrious career.  This is the sort of album true hip hop fans have been waiting for.  Hip Hop as an art form is a relevant thing, and Mr. Foster, your favorite indie rockers favorite rapper, is here to smack some sense into all the naysayers out there.  And it is safe to say, he has made his point abundantly clear.

Take yourself HERE to get up to 5 copies of Flowers For My Father for FREE!  

Frederic Raphael [Interview]

Frederic Raphael

© Graham Jepson/Writer Pictures

We have spoken with some very intriguing folks here at Trainwreck’d Society.  We’ve spoken with great filmmakers, authors, actors, and so many more.  They all have been wonderful in their own way.  But, this cat is different.  This is THE Frederic Raphael.  Considered by most (well, myself at least) to be one of the finest and most esteemed authors, essayists, screenwriters,….basically a mastermind of the written word to put it bluntly.  He has had works published that date back further than some of our parent’s births. And he has never missed a step.

Mr. Raphael is also no stranger to controversy.  When he released his memoir of his time spent with Stanley Kubrick while writing the adaptation screenplay for Eyes Wide Shut, entitled Eyes Wide Open, he pretty much pissed off everyone possible, and still created a masterpiece comparable to the fine work he did writing the screenplay.  And now he is back this year teaming up with his colleague Joseph Epstein on a book of digital correspondences, to stir up the pot once again, and to prove that he is and will always be a force to be reckoned with in the literary world.  And dammit if some how we managed to get a few words from the legend himself!  I could think of no greater individual to have on the site as our 50th interview in our very short history.  Ladies and Gentlemen, allow me to introduce the man who should need no introduction if you know how to read….Frederic Raphael!

What was the first book you can remember reading?  Did it have any impact on you?

I’m pretty sure it wasn’t A la Recherche de Temps Perdu in Sanskrit. People usually lie about influences. Ever since Harold Pinter told me, in response to a quiz which I put to him for the sake of a good cause, that in his teens he “read Laforgue”, I have been wary of those who laid claim to lofty antecedents. I do remember reading Ferdinand the Bull at a precocious age though. The phrase “His mother, who was a cow…” remains in my mind.  As far as novels are concerned, Maugham’s Of Human Bondage was of, as they say, seminal importance: it was well enough done to excite, but not so well that I was deterred from, the idea of becoming a novelist. It seemed to promise that as long as one was unhappy enough, there would be no shortage of subject matter.

In your long and illustrious career you have written in just about every category there is to be read.  In your opinion, what is your favorite genre or form of writing?

I am most myself, if that’s a good idea, when I am writing in longhand in squared notebooks. Handwriting encourages both candour and pretentiousness. I like fancy phrases and I like best what is written as well as possible but without any intention to please any paying audience, not that I object to a standing ovation.

What do you consider your greatest non-artistic related influence in your work?  

The Jews and their fate. Alas! I imagined that being a novelist would be a way of disappearing inside the work; but the art that conceals art can never quite conceal the artist.  I thought I would be rid of the Jews just as, perhaps, Wittgenstein though he would be done with metaphysics. But whereof one cannot speak is a topic difficult to keep silent about.

Your 1999 memoir of your time with Stanley Kubrick, Eyes Wide Open, seemed to gather quite a bit of controversy upon its release.  For those unfamiliar with the book and said controversy can you tell us…what the hell happened?

Stanley Kubrick required all those who worked with him to sign a contract which obliged them not to write about the experience.  The first draft of the contract concerned Eyes Wide Shut proposed that I concede to him the last word on who had written what lines of dialogue or had what ideas in the script. I told him that, much as I admired him, I could not work with him on that basis.  He told me that he would have the lawyers strike out the clause which offended me. In that case, I told him, I was happy to proceed. The lawyers did as they were told, but the same clause contained a sub-section concerning confidentiality.  As a result, after Stanley’s death, Jan and Christiane Harlan were unable to prevent me from telling the truth, most of it very flattering, concerning my labours with Kubrick.  Their only recourse was to scream and shout with the purpose of “discrediting” my book. In this endeavour they were backed by Tom Cruise, who takes a similar attitude to anyone who seeks to deny the quasi-divinity of Ron L. Hubbard, and by Michael Herr, who wrote one successful book, which was not the “novel” about Walter Winchell (that I just happened to have reviewed unflatteringly).  Larry Gelbart told Stanley Donen that my book was “like a glass of clear water”. I took this surprisingly well.

 Frederic Raphael2Distant Intimacy: A Friendship In The Age Of The Internet seems to be gaining the same sort of attention.  In my personal opinion, I find what you and Joseph Epstein are doing is courageous.  Could you tell about this book and how it came to life?

 It never occurred to Joe or to me that we were doing anything but not lying to each other while seeking also to amuse and provoke: it used to be known as flyting, but why upset people by knowing anything other than clichés?  Our refusal to admire the same modern idols (Pinter, Sontag, Vidal, McEwan, Amis et all) as those who have an investment in them has led to a torrent of witless abuse and accusations. We were accused, for instance, of being “phoney”, which in glossary of modern cant means that we lacked the instinct for vanishing up the asses of the well-placed which makes critics, pundits and presenters into the trustworthy assessors that we know and whose judgments we must honour or else. Daniel Johnson, who commissioned crappy review of our book from a descendant of one of our foremost targets, is both a slow-payer (who whines about his own salary)  andthe only man whom I have ever invited to lunch (in a club of which D.J. was not a member) who, in the middle passage of our long conversation, signalled to the wine waiter and ordered another bottle of the same. I should have known at that moment that he was not a man to go into the jungle with.

 In your personal opinion, what do you believe it is about the celebrity psyche that makes people believe that some artists should never be criticized?

Robert Graves wrote a lecture way back when entitled “These Be Thy Gods, oh Israel” in which he dared to denounce poets such as Ezra Pound (whose mistranslations from Latin are held, by his admirers, to be better than the original Propertius), the sainted Mr Eliot and other canon-fodder.  My views are, of course, by no means identical with Joe’s, but we have both been round the block a few times and know which writer ring true and which do not.  Journalists, the breed to which almost all reviewers now belong, care above all to write the kind of thing which will lead editors such Dunghill Johnson to ask them to do the same again. I have committed many sins (it would be nice to think), but I have never written a put-down review because that was what an editor wanted. The British, in particular, have replaced criticism with copywriting and wit with idolatry. Telling the truth endangers people’s investments. Why would you want to do that?

 Whenever we get an award winner on the site, we always have to ask…. where do you keep your Oscar?  And is there any significance to its location?

 I keep it on the windowsill behind family photographs. It emerges only when a producer or director comes to visit.  I do not bow down to it or kiss it; but I cannot deny that it came in useful, career-wise: the fact that we own the said window-sill, in a French farmhouse far from the muddening crowd, owes not a little to the wit and wisdom of the Academy.  

Can you tell us a bit about your screenplay currently in pre-production This Man, This Woman?  How did the idea for this story come along?

 A producer rang me to propose a story about a woman whose successful husband leaves her for a quality bimbo and hinc illae lacrimae as no one much in Beverly Hills ever says, however regularly they may be sorry for themselves.  I added a few touches (the original bits) and now we are, if you say so, in pre-production; the pre- bit has lasted a good few years. Who knows when or whether we shall be saved?

 If you had any advice for young authors with the ambition to write for a living in this day and age, what would it be?

 Forget the living and do the writing. The best advice I ever had was from a British editor after he had told me that my 600 page novel was too long. I told him that I wasn’t cutting anything that people wouldn’t like, especially the bits about (yes!) anti-Semitism. He said, “I don’t want you to cut anything in particular.”  I said, “Meaning you just want the book to fit into some preconceived market.”  He said, “Here’s what I suggest: go through the manuscript and cut ten words on every page. You’ll find you always can.”  And he was right.  Desmond Flower!  Hats off!

Frederic Raphael3 What was the last thing that made you smile?

After reading my recent review of the latest John Le Carré novel, A Delicate Truth, Joseph Epstein told me that the Jewish version of Tinker, Tailor, Soldier, Sailor was entitled Tailor, Tailor, Tailor, Tailor. I’m still smiling as a matter of fact.

Dan Dobi [Interview]


YouTube often times feels sort of like a gift and a curse.  A curse to honchos like MTV who can no longer play music videos because everyone is watching them on YouTube (while everyone complains about the generally shitty stuff they do play), which in turn is a gift for us!  But as we all know by now, YouTube isn’t simply a place you can go when you are drunk, alone, and desperately want to hear “Party All the Time” by Eddie Murphy.  No, YouTube has essentially become its very own universe which, rightfully and obviously so, has its own stars!  YouTube channels are watched more often than the same old re-runs of Seinfeld or M*A*S*H you consistently find on basic cable.  Folks who are practically average Joes have the ability to become stars!  So much so that, on some occasions, the folks are able to quit their full time jobs to focus on their “art” of managing a YouTube channel.  It is truly marvelous and endearing.

And filmmaker and acclaimed music video director Dan Dobi wants to tell you all about it with his new film, Please Subscribe.  Dobi profiles some of the biggest stars in the YouTube universe in his debut documentary about this world that is absolutely astounding with brilliance of these, our modern times.  We were fortunate enough to be able to steal a few words from Dan to discuss Please Subscribe, his past works, and what the future holds for not only YouTubers, but for the man himself.  Enjoy!


What inspired you to make Please Subscribe?  Are you a YouTuber as well?

I’ll answer your second question first.  Yes, however I feel anyone that uploads videos on YouTube could be considered a “YouTuber”.  A lot of people upload to YouTube and call it a full-time gig which to thousands, it is.  A lot of people on the outside of the bubble don’t really understand it and view it as more of a hobby than a career.  I wanted to make the film to educate the bigger percentage of the population that doesn’t understand what being a YouTuber is like.

Were there other folks you would have liked to speak with but didn’t get a chance to?  

Yes, absolutely.  To my own fault, I think I left out the musician and beauty guru side of YouTubing however I DID reach out to a good amount of them and heard nothing back so hey, I tried!  I do feel that the final cast we assembled was perfect.  If I had to do it again and had my pick of the litter, I would still go with who I chose for the final cut.

What was your favorite moment in the process of making the film?

Majority of the time I spent with each YouTuber seemed more of “just hanging out” rather than an actual shoot.  I think doing a documentary yourself (IF you can), is the most personal, most intimate way you’re going to get the truth and real life situations out of people.

Have the folks you profiled in the documentary watched it yet?  If so, what is the general consensus? 

Yes and they love it!  All of them have all had super positive reactions to the film and have been helping promote it to get the word out.  For Hannah Hart (who was featured in the film), I shot her JUST when she made the move out to Los Angeles to take her channel to the next level.  I think for Hannah, looking back on this film (already) is an awesome time capsule of her life.  Mitchell Davis shared a very personal, intimate secret on camera and I know at first he was iffy about.  Shortly after the film went to theaters, Mitchell thanked me for encouraging him to speak about his issue on film.  He told me that he’s received so many positive messages via twitter and Facebook that allowed a lot of fans to relate to his situation.

As a fellow Kickstarter campaign success grabber, I know how stressful the campaign can be.  How was the experience for you raising over $12,000 to get this film made?  Much stress?

It’s a lot of work!  You think “oh, it’ll just HAPPEN” but no, the project wasn’t fully funded till about 2 hours before the deadline!  A lot of people have immediate success with crowd funding sites, but some of us have to work/promote/ask people for favors and at the same time, not get too spammy about it.  I was stressed for a little bit, but a lot of people came out of the woodwork to help promote the campaign.

I have come to understand you have worked with the likes of Jason Mraz, P Diddy, Gym Class Heroes, and many more.  What do you believe to be your most prized work on a personal level (besides Please Subscribe, of course)?

I was the editor of a feature film (that was actually SHOT on 35mm) that I spent roughly 4 months on.  It was a company from Brussels in Belgium that had seen my editing work and hired me on for it.  The film was in french and I don’t SPEAK French so I had an English Script and a French script and I just figured it out!  I would call that my most prized work, because it not only came out great, it really changed the direction of where I wanted my career to go.  For the longest time I was focused on music videos and commercials, however after doing cutting the feature, it made me JUST want to do features from here on out.


What is next for you?

Speaking of my last answer, I’m actually in preproduction to direct a narrative feature in the summer.  I can’t speak TOO much about it, but hopefully down the line, you’ll hear about it 🙂

What was the last thing that made you smile?

My dog just licked my arm 10 seconds ago… there’s your answer

Check out the trailer for the film on, you guessed it, YouTube.  Also find out how you can get your own physical and digital copies of the film as well!

Leslie Zemeckis [Interview]

Leslie Zemeckis

Through a bit of research, probably somewhere off the tracks of another John Waters bender, I learned a bit about the world of Burlesque.  This is a culture that is absolutely fascinating.  The history behind the shows themselves is absolutely enthralling.  A little film called Behind the Burly brought the subject matter to light in such a wonderful light.  As inspiring as it was, I wanted to know more.

In a yearning to learn more, I decided we need to speak with the films creator, Leslie Zemeckis.  Yes, yes, she is the better half of the dude who made Forrest Gump and the Back to the Future series, but we’re not here to talk about him.  We want to know about Leslie.  Some folks may remember her as Leslie Harter, during the glory days of classy adult entertainment on Cinemax, but Leslie has definitely taken her career into a wonderful different direction.  Her work as a filmmaker, writer, actress, writer, etc. is as as stunning as she is physically.  So sit back, and prepare to be schooled on the art of burlesque and so much more with the ever so talented, Leslie Zemeckis!

You are an established actress, writer, filmmaker, and more.  What aspect of the entertainment world do you find the most personally rewarding?  Why?

All my “projects” seemed to be linked somehow which is rewarding. To follow my passion, documentaries and writing and acting is a dream. Creating something of worth that hopefully will educate and entertain and overturn possible misconceptions seems to have become a mission.

In your personal opinion, how do you believe sex is portrayed or defined by the entertainment world?  Do any ideals towards what is “risque” seem out dated at all? 

 It’s too varied. Its portrayed in various ways, romantic, unrealistic, brutal, honest. Its pretty well covered. The whole burlesque era today would never be considered risqué, but in its time it was. There wasn’t any other outlets to see women in the flesh – and we’re not even talking nude, but legs! Burlesque became a rite of passage for boys, it was a fantasy and a dream for men. The women seemed obtainable. They were taking off their clothes – which was disturbing, outrageous and scandalous – in its day. Of course strippers today don’t even strip. They just dance around nude.

How did you initially become interested in the burlesque world?

I was doing a “cabaret-type” show which had elements of burlesque in it and I decided to educate myself on what burlesque was and who was in it. When I fell into a group of former performers – most whom had never spoken about their experiences – I thought it would be worthwhile to tell the world. To really explain what a show was and who these performers were. They had great worth, and should not be considered second class, which sadly they still are.

Can you tell us a bit about your upcoming book titled the same as your 2010 Behind the Burly Qdocumentary, Behind the Burly Q?  Is it a companion story? 

It’s a companion, but goes further into the history. The documentary was told from the performers point of view, it’s their stories, as is the book, but I’ve expanded and told stories – and done hours and years of research on former famous performers that no one knows about today, that had wild and interesting lives. They really lived! With over 100 hours of taped interviews I knew I could not include all the great stories, but the book has them! There is a lot of behind the scenes photos that were given to me by performers that have never been seen. It’s really comprehensive.

What would you say is the most unusual story you have been told from the legendary Burlesque queens during the research your book and shooting your documentaries?

There really were so many on so many elements, from women never telling their family they were in it, to the involvement with the mob – most of the women appreciated them. All the way to the seedy bits, with men masturbating in the theatres and the girls having to dance in front of that. There were heartbreaking stories of children left behind while they went on the road. I wanted to know what their lives were like, not just their performances. There was also a surprising sense of camaraderie with the performers, and looking out for each other – an “us vs. them” point of view. “Them” being civilians. These performers were remarkably vibrant even at 70 – 80 and in their 90s!

Who would you say is your most favorite Burlesque performer you profile in your book?

I couldn’t say. That wouldn’t be fair. I fell in love with all of them. And they have remained my friends. Yet I don’t sugar-coat it, their lives and what they did and the choices they made are all there – for good and bad. I don’t judge, but I’m not hiding the seedy bits, the drunkenness, etc.  There are a couple I will continue researching and writing their stories, for full length books. One is almost done currently. It’s a fascinating era people know so little about. The lives were colorful to say the least. 

Leslie Zemeckis2

What else does the future hold for Leslie Zemeckis?

Who knows.

What was the last thing that made you smile?

My children.