Rudy Vasquez

Sponsored by Trade Craft, this month’s coloring corner was illustrated by Rudy Vasquez. Voted Best Artist by What’s Up readers in 2010, Rudy has worked on Ink Works Official Family Guy trading cards, Ape Entertainment’s U.T.F., Dean Koontz’s Frankenstein graphic novel adaptation published by the Dabel Bros, and Carnival Comics.

Read the full article @ What’s Up.

‘Peter O’Toole’ captures what was unique about the enduring star

peter-otoole-666x1024Yet it was arguably O’Toole’s persona – more than his chops as an actor per se – which left the biggest impression on audiences. Whether cast in roles swashbuckling (as the globe-trotting hero in 1962’s “Lawrence of Arabia”) or studious (as the courtly teacher to Chinese Emperor Pu Yi in 1987’s “The Last Emperor”), O’Toole frequently came across as variants of the same man: svelte, dashing, somewhat impetuous.

The point is nicely expressed in a passage in Peter O’Toole: The Definitive Biography, an accurately – if self-aggrandizingly – titled book by Robert Sellers. Discussing the rationale behind casting the actor in “The Last Emperor,” producer Jeremy Thomas itemizes the salient aspects of O’Toole’s façade: “He was the symbol of Western style, in a top hat and tails, and very statuesque with a great clarity of speech.”

Of course, many of the films O’Toole made in the late 1980s and 1990s were beneath his station. Happily, however, Sellers recognizes that O’Toole brought authority to even the silliest projects. “His name and presence could still add gravitas to any production,” Sellers writes, and a fine case study is made of the two-bit science-fiction film “Phantoms” (1998): O’Toole is described as being genuinely respectful of the screenplay by Dean Koontz and acing a long monologue shot during a snowfall. And although “Supergirl” (1984) is blithely dismissed in a single line, the actor’s function in that film is roughly equivalent to that of Marlon Brando in “Superman” (1978) – he is there to supply a certain stateliness to a pop-culture product, and he does so with panache.

Read the full article @ The Christian Science Monitor.

Woodstock Framing Gallery features exhibit of iconic rock photos from original negatives

stefko-300x415Joe Stefko, who’ll speak about the collection of rock photos drawn from original negatives that he’s exhibiting (and selling from) at Woodstock Framing Gallery, 4 p.m. Saturday, November 5, stood in front of a pristine print of what the rest of us know as Michael Cooper’s cover for the Rolling Stones’ Their Satanic Majesties’ Request. Around him are other Cooper prints from The Beatles’ Sgt. Pepper album shoot, Bob Whitaker’s back cover image from Revolver, iconic shots of T Rex and Iggy Pop, early Beatles photos, John Lennon lithographs, and the pubescent redhead with an airplane that came out on a few hastily-withdrawn covers of Blind Faith’s only album, signed by the girl herself…

It was around the same time that the drummer began designing limited edition books; he currently works with three exclusive authors: Harlan Ellison, Dean Koontz and Tim Powers. He’d already gotten into collecting books while touring with The Turtles.

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New Exhibit for Artist Who Created Magic of Sleeping Beauty

Eyvind Earle

“An Exhibit of a Disney Legend” was currently on view in the museum of Forest Lawn in Glendale. Many of Earle’s 65 works had never been on public display, and among his many artistic styles are three “Sleeping Beauty” background pieces on loan from Disney.

His work is found in the personal collections of filmmakers Guillermo del Toro and Peter Jackson. Writer Dean Koontz also has his work. It is a style that is both medieval and midcentury. It is flat, but full of detail, creating depth.

His work was inspiration for a new generation of artists.

The Forest Lawn museum is free and open year-round and is a chance to see Earle’s unique style.

Read the full article & watch a video @

Did ‘High Tension’ Rip Off Dean Koontz’s ‘Intensity’?

High Tension blu-rayThousands of horror fans — whether lovers of New French Extremity, gore, or simply fast-paced thrillers — adore High Tension. Released in France as Haute Tension in 2003 and in the UK as Switchblade Romance in 2004, the movie combined a great cast and talented young director Alexandre Aja to create one of the most exciting, blood-spattered horror movies since 2000.

However, apart from the usual detractors and haters of movie violence — this was yet another marvelous horror movie that Roger Ebert despised — there’s always been one more interesting criticism leveled at High Tension:

IntensityIs High Tension a rip-off of Dean Koontz’s Intensity?
Eight years before Aja released High Tension, horror novelist Dean Koontz published Intensity, which has a very similar storyline. But is it a rip-off? I haven’t been able to find any official word from either Aja or Koontz regarding the matter, although the likely unreliable Wikipedia does note that ”the film is an unauthorized reinterpretation of the novel Intensity by Dean Koontz.”

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