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<v Speaker 1>Hey, folks, welcome to a special episode of the cull

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<v Speaker 1>Chac Tapes. Yes, we were back when we were talking

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<v Speaker 1>to Paul Terry. He is the author of quite a

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<v Speaker 1>lot of things. If you want to see all of

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<v Speaker 1>his work, go over to Paul Terryprojects dot com. Paul

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<v Speaker 1>has recently written a cold Check series of short stories.

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<v Speaker 1>They have been collected in a volume called Colchack The

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<v Speaker 1>night Stalker, Haunted and Hunted. It is a fantastic book.

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<v Speaker 1>I really enjoyed reading this one. I was so glad

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<v Speaker 1>after all this time to finally dive into the world

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<v Speaker 1>of Colchack literature other than the stuff that jeff Rice wrote.

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<v Speaker 1>Thank you so much for listening, and I hope you

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<v Speaker 1>enjoy this episode. And if you enjoy Carl Colechak and

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<v Speaker 1>The night Stalker, definitely go back and listen to the

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<v Speaker 1>rest of our episodes of our at colchaktapes dot com.

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<v Speaker 1>Thank you so much for coming on. I'm really excited

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<v Speaker 1>to talk to you about your Collchack work and other things.

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<v Speaker 1>I would love to know a little bit more about

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<v Speaker 1>you and your background, because you do a lot of things.

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<v Speaker 1>I'm not sure if you're aware of that.

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<v Speaker 2>I tend to tell people when they ask that question,

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<v Speaker 2>I tend to say, I just I like making things.

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<v Speaker 3>I like telling stories.

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<v Speaker 2>Is I guess that sort of covers the breadth of

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<v Speaker 2>it all, But it really it feels normal to me

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<v Speaker 2>because I've always done it.

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<v Speaker 3>It's being a kid at school.

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<v Speaker 2>I've always enjoyed doing something that they're supposed to be

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<v Speaker 2>on the curriculum. And then outside of studying or writing essays,

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<v Speaker 2>making music and so forth, and so going through into

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<v Speaker 2>adulthood that I think I just thought that was normal.

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<v Speaker 3>So we just keep it, kept multitasking.

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<v Speaker 1>Your stuff usually relies on other sources in order to

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<v Speaker 1>have that platform. But then I think you've also done

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<v Speaker 1>original fiction as well. Is that correct?

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<v Speaker 2>Yeah, the Cold chat Book, the Haunted and Hunted sort

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<v Speaker 2>of short story collection. That's my first prose fiction proper,

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<v Speaker 2>if you like. But I've always wanted to dabble into

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<v Speaker 2>that world and do more of that stuff. And that

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<v Speaker 2>comes from pults, from many different things, from and they'd say,

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<v Speaker 2>when you're a kid and you're always writing stories and

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<v Speaker 2>being creative, and then going through to doing more creative

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<v Speaker 2>writing with collaborations in different mediums, though filmmaking being involved

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<v Speaker 2>a pretty use of working with directors on their scripts

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<v Speaker 2>and things, and then co writing on some of those projects.

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<v Speaker 2>But you're right, yes, a lot of my other books

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<v Speaker 2>and writing work was more in the sort of making

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<v Speaker 2>of space or as an editor, which I was for

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<v Speaker 2>a long time. You're editing other people's work and you're

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<v Speaker 2>figuring out your own sort of like voice of storytelling

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<v Speaker 2>and how you like to report information, and so yeah,

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<v Speaker 2>I think it's just it's one of those things where

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<v Speaker 2>I always say this to young writers, is write everything.

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<v Speaker 2>I've written books that are tailored four kid Top ten

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<v Speaker 2>books kind of things like that, as well as making

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<v Speaker 2>of books about film and TV shows that cover different

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<v Speaker 2>mediums for things like Last things that more sort of

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<v Speaker 2>horror and comedy likes Theebe Hollow or thrillers like The Blacklist.

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<v Speaker 2>I tended to say yes to a lot of projects

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<v Speaker 2>and then worry about how to do it afterwards. Tested

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<v Speaker 2>I think that's how I like to work in the

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<v Speaker 2>creative art, that you go, yeah, sure, yeah, I'd love

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<v Speaker 2>to do that, and then you hang up and go

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<v Speaker 2>how would that work? But I think definitely a big

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<v Speaker 2>influence on pitching even these stories for culture. Obviously, I

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<v Speaker 2>loved the show when I saw the reruns in the

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<v Speaker 2>UK and the nineties. But I had been writing very

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<v Speaker 2>intensely in character voices for the X Files book that

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<v Speaker 2>I did with the Abrams, the first one the Official Archive,

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<v Speaker 2>and so X Files is my favorite show of all time,

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<v Speaker 2>and so it was a dream project to pitch. What

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<v Speaker 2>that did was actually get me, you know, back to

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<v Speaker 2>school and really figuring out what are the rhythms, How

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<v Speaker 2>does Molder speak, how does Scully speak? Carries that different?

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<v Speaker 2>How were they speaking an official reports? And so I

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<v Speaker 2>think years of doing that, studying those patterns just put

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<v Speaker 2>me in the right headspace as well as other previous

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<v Speaker 2>projects to say, you know what I've been developing, I

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<v Speaker 2>guess off camera as the phrase away from the official career,

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<v Speaker 2>my own IP, my own fiction ideas, And so the

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<v Speaker 2>culture book felt like a great bridger because it is

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<v Speaker 2>a licensed book, it is a licensed character, but it

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<v Speaker 2>was an opportunity to say, as a fan, what other adventures?

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<v Speaker 2>What are the cases could call Collcheck find himself falling

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<v Speaker 2>into and as he does, And you.

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<v Speaker 1>Talked about the voice of Moulder and Scully, but the

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<v Speaker 1>voice of Collcheck is so distinct, and you get that perfectly.

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<v Speaker 1>You nail that voice. I can hear Jere McGavin in

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<v Speaker 1>my head.

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<v Speaker 2>Oh thank you. That that's the greatest reviews. As long

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<v Speaker 2>as someone thinks that he loves the show that that

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<v Speaker 2>means a lot to me to thank you.

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<v Speaker 3>I did work very hard on that.

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<v Speaker 1>I'm curious what was the secret of unlocking callcheck? What

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<v Speaker 1>methodology did use to bring him back to the page.

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<v Speaker 3>The similar process to when I did the XOS books.

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<v Speaker 3>It's really you're rewatching the.

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<v Speaker 2>Episodes and you're writing notes constantly, and I describe it

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<v Speaker 2>as you're watching or you're rewatching things through a completely

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<v Speaker 2>different lens. So when you're when you're rewatching a show

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<v Speaker 2>or a film that you love and you're just enjoying

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<v Speaker 2>it for what it is, or when you're doing it

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<v Speaker 2>professionally for this particular task, it's really I love sound,

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<v Speaker 2>I love language, so I'm really aware of trying to

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<v Speaker 2>drill into those things, and it's really just taking copious notes.

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<v Speaker 2>It's really just figuring out there's lots of catchphrases that

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<v Speaker 2>he comes up with, of course, and Daran McGowan's cold check.

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<v Speaker 2>That is if like the actor and the written character

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<v Speaker 2>just become one. Don't know, you can't imagine anyone else

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<v Speaker 2>being cold joke, and so it's terrifying when you give

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<v Speaker 2>yourself that to do it. But it's a good it's

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<v Speaker 2>a good fear, I think, because you really feel like

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<v Speaker 2>you have to honor that character. You can't mess it up,

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<v Speaker 2>but you have to actually get Ryan. But yes, lots

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<v Speaker 2>of note taking. I tend to really drill into. The

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<v Speaker 2>kind of catchphrase is the way that he talks in loops,

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<v Speaker 2>the way he drills things out, like he says strike one,

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<v Speaker 2>strike two, or he says item and then does translation,

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<v Speaker 2>and that gives you a kind of foundation of what

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<v Speaker 2>things he likes to say. But then I was really

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<v Speaker 2>drilling hard into he's very economical with language. He's very specific.

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<v Speaker 2>He's almost like he's a great reporter. But if he

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<v Speaker 2>was a writer, if he was a novelist, he'd be

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<v Speaker 2>an amazing writer because he has great visual language, and

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<v Speaker 2>he sees things as they are and just calls them

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<v Speaker 2>out in a re almost poetic ways sometimes, and within

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<v Speaker 2>that there's a sort of as he calls things as

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<v Speaker 2>to what they are. If something's sprightening, all with a

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<v Speaker 2>lot of tension. He liked to build that drama and

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<v Speaker 2>call it for what it is. But at the same time,

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<v Speaker 2>there's that wit, there's that swagger. It's a big balancing act,

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<v Speaker 2>and these things take a while and you start throwing

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<v Speaker 2>down ideas about how how he would craft something. But

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<v Speaker 2>I really love the first person perspective for this style.

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<v Speaker 2>It feels very like hard boiled, very detective thing, and

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<v Speaker 2>for me that just felt like a real treat to go, Okay,

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<v Speaker 2>we can how do we keep that really present? How

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<v Speaker 2>do we keep that energy through short stories? And I've

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<v Speaker 2>always loved the short story format and short film format

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<v Speaker 2>because you have to do a lot in a short

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<v Speaker 2>period of time, and I think for a cold shirt case,

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<v Speaker 2>it's perfect because that also was in my mind that

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<v Speaker 2>rewatching the episodes the movies of course as well. Watching

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<v Speaker 2>the episodes, you get a sense of time being quite

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<v Speaker 2>compressed and quite kinetic, and that because there's terrible things happening,

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<v Speaker 2>I think, and Carl Culchet wants to solve it and

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<v Speaker 2>stop them, and so that was a big influence as well.

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<v Speaker 2>I think a couple of my stories take place over

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<v Speaker 2>quite a narrow period of time, but I think that's

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<v Speaker 2>an advantage for this kind of story, and I think

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<v Speaker 2>that and it's just a personal preference. And there are

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<v Speaker 2>the rights that have done very different approaches to Culchut

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<v Speaker 2>that have been wonderful. But but for me, how I

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<v Speaker 2>like to write, and my love of horror and tension

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<v Speaker 2>and drama and mystery especially, I think when you have

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<v Speaker 2>a mystery, you're trying to lay out to the audience

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<v Speaker 2>that's in the horror space that you want them to

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<v Speaker 2>lean in and try and solve with you. It's it's

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<v Speaker 2>more powerful to keep it a little bit more condensed

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<v Speaker 2>in the timeframe.

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<v Speaker 1>The other thing I was going to say was it's

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<v Speaker 1>snatch stick it out does feel like karl And then yeah,

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<v Speaker 1>not only are you capturing the characters, but then putting

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<v Speaker 1>them in these situations to have them like Karla and

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<v Speaker 1>Vincenzo as well, because you also capture of Vincenzo's voice

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<v Speaker 1>very well, but to them put them in these new

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<v Speaker 1>scenarios that we've not seen them in before, where it's

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<v Speaker 1>new ghost stories, new spook stories, new creatures that they're investigating.

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<v Speaker 1>That's a whole other challenge to this, and I commend

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<v Speaker 1>you all of these stories were very compelling.

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<v Speaker 3>Oh thank you so much.

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<v Speaker 2>It's yeah, Vince, I think what helps a lot of

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<v Speaker 2>the performances in the writing of the show is so strong.

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<v Speaker 2>Did you say, Tony, there is just he's indelible, He's

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<v Speaker 2>just there again. Rewatching the episodes for Kyle Void, of course,

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<v Speaker 2>was absolutely you can't have these stories of that Vincenza

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<v Speaker 2>being a present. I wanted to modulate how much he's

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<v Speaker 2>a presence in the stories because it's like seasoning, isn't

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<v Speaker 2>You got to get the sevening just right. You don't

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<v Speaker 2>overdo things. And the same with Emily and Ronald. Did

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<v Speaker 2>they appear a couple of times, but I'd love to

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<v Speaker 2>hear that. I'd love to hear that you feel that

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<v Speaker 2>way about that. It is not stick And for me,

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<v Speaker 2>as a fan and as a writer, whenever there's a

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<v Speaker 2>a temptation to do sort of Easter ragg style things,

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<v Speaker 2>terrified of ever drifting into the sort of member berries.

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<v Speaker 2>Oh look, we're ticking off things that we're making the

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<v Speaker 2>fans cheer and go hooray. That's a good reference. I

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<v Speaker 2>always wanted any kind of Easter Egg to be very

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<v Speaker 2>organic and very natural, so that it really is about

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<v Speaker 2>the characters driving the story forward or it's just integral

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<v Speaker 2>to the story. And so that was another guard rail

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<v Speaker 2>I put on myself, so don't get tempted by doing

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<v Speaker 2>too many things. Just did something subtle that feels like

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<v Speaker 2>it fuels it. And Bencenzo, especially with the book stars

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<v Speaker 2>with the Haunted Airport story, just the idea of what

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<v Speaker 2>would that odd couple be like coming back from something

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<v Speaker 2>that what one person with Vincenzo I thought was incredibly important,

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<v Speaker 2>and the other being Carl, being like, can we can

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<v Speaker 2>I just go home? I just I don't want to

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<v Speaker 2>how did this project come to you? I just I

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<v Speaker 2>like to give myself crazy challenges. I had a concept

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<v Speaker 2>for a short which actually was the last short of

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<v Speaker 2>the story promises, the one set in Paris in France,

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<v Speaker 2>and the actually the kernel idea for that story goes

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<v Speaker 2>back in years, goes back almost a decade where I

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<v Speaker 2>was actually in Paris. It was in twenty thirteen with

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<v Speaker 2>two dear friends and we were in Notre Dame and

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<v Speaker 2>we scaled the staircases described in the story, and just

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<v Speaker 2>those goggles are incredible, and you see photographs of them,

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<v Speaker 2>but seeing them not closed, they're so eerie. They're so

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<v Speaker 2>strange that even the fact they were created at the

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<v Speaker 2>tour is so odd, and a story idea was just

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<v Speaker 2>stuck in my head since that trip was just there's

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<v Speaker 2>all these signs around anything about museums which say, do

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<v Speaker 2>not touch this piece of artwork, do not touch this

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<v Speaker 2>because they're ancient, and I thought, what would happen if

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<v Speaker 2>you did, as in, could something quasi supernatural happen if

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<v Speaker 2>you broke the rules and you did actually touch a gargoyle?

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<v Speaker 3>So the story idea for that what goes way back?

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<v Speaker 3>So twenty thirteen.

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<v Speaker 2>And then as story ideas, do they tend to linger

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<v Speaker 2>and come and go in your head? And then I

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<v Speaker 2>think I was just watching some Cold Tack and was

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<v Speaker 2>thinking about this specific story in the context of maybe

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<v Speaker 2>making it a short story. There was nothing to do

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<v Speaker 2>with Coldjack, and then rewatching Colchak, it just felt, oh,

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<v Speaker 2>my goodness, it should be a Cold Chack tele because

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<v Speaker 2>it's almost an impossible mystery that I had in my head.

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<v Speaker 2>How do you what is happening? How do you solve this?

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<v Speaker 2>He's the guy, he's a very good report that, he's

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<v Speaker 2>very observant, He'll crack the case. And I pitched it

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<v Speaker 2>to Moonstone, who had the license for Coldchack at the time,

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<v Speaker 2>and the response I got was, yes, it's a short story.

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<v Speaker 2>We don't tend to just publish into short stories. We

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<v Speaker 2>tend to do a collections. And again, me being me,

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<v Speaker 2>I thought, why don't I reply to the email and

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<v Speaker 2>say they fired? Did you four more stories with that

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<v Speaker 2>constitute enough word count stories for a collection? And the

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<v Speaker 2>answer would yeah, give me some other log lines for stories.

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<v Speaker 2>And then again you see this pattern. I think to

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<v Speaker 2>say yes to things and then worry later about how

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<v Speaker 2>I liked the challenge.

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<v Speaker 3>I pitched four.

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<v Speaker 2>Other stories as log lines once I'd figured out the

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<v Speaker 2>kind of range of supernatural stories that I wanted to

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<v Speaker 2>write about, and based on those log lines, the editor

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<v Speaker 2>publisher at Moonstone said yes. And I was away with

249
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<v Speaker 2>the races last year and they came together really quickly.

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<v Speaker 2>I think there was something I was very excited about

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<v Speaker 2>doing them, and I was I think that also fuels creativity,

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<v Speaker 2>when you're really inside the head of a character, And

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<v Speaker 2>so I really dug back into those rewatches and was

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<v Speaker 2>really fleshing out. I really wanted these fine stories to exist.

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<v Speaker 2>Almost I think it's an echo of when I do

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<v Speaker 2>my music projects. So I really get obsessed with track

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<v Speaker 2>listing and how music flows between tracks, and so with

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<v Speaker 2>this book, I wanted to make sure that the short

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<v Speaker 2>stories that was the order that they worked. If you

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<v Speaker 2>remix the order, it wouldn't quite feel as good. And

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<v Speaker 2>so there was a specific flow to those stories. And

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<v Speaker 2>as you say, the kind of monsters or supernatural qualities

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<v Speaker 2>or whatever it is that he encountered that.

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<v Speaker 3>Moves through those stories.

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<v Speaker 2>But yeah, it's one of those cases of almost a

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<v Speaker 2>cold call, I guess, in a kind of cold tech

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<v Speaker 2>way of saying, hey, editor, I've got an idea.

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<v Speaker 3>Do you want to print this? And thankfully it worked out.

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<v Speaker 1>What's interesting because not only are you Carl inside of

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<v Speaker 1>the head of Carl Colchak, but then you're also God

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<v Speaker 1>and you're the one who's setting up these situations. You're

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<v Speaker 1>the one who's throwing these blockers in front of Carl.

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<v Speaker 1>So when you are doing this, do you have the

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<v Speaker 1>whole thing planned out? Or do you just see how

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<v Speaker 1>Kurl moves through this world?

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<v Speaker 2>It's definitely the latter. It's definitely character first. I always

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<v Speaker 2>I have like a kernel about I like to give

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<v Speaker 2>any creative story and working on that's original. I like

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<v Speaker 2>to think about a problem that's insurmountable, a mystery that's impossible,

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<v Speaker 2>and then think about what would the character, how would

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<v Speaker 2>the character approach the first encounter with said mystery, with

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<v Speaker 2>said problem, And yeah, you're absolutely right. The character of

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<v Speaker 2>Carl Kolchak, and then you the characters that he encounters,

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<v Speaker 2>they almost get you know, writers writing very different ways,

285
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<v Speaker 2>I know, but the way I tend to like writing

286
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<v Speaker 2>is I let him. I let the Carle voice lead

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<v Speaker 2>the whole story. And so when you're reading these stories,

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<v Speaker 2>when he encounters someone else, the new character whatever it is,

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<v Speaker 2>or decide to do something, I like to frame it

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<v Speaker 2>under the auspices of that's what Carl colcheck we do

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00:15:21.240 --> 00:15:24.200
<v Speaker 2>in that moment, and then this happens. And then if

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<v Speaker 2>there's a blackout or this thing happens, how would then

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<v Speaker 2>he react? And then how does that inform how the

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<v Speaker 2>story and moves Howard? I love the mystery genre. I

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<v Speaker 2>love the horror genre a lot. But I think that

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<v Speaker 2>as we all do as fans, sometimes you can see

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<v Speaker 2>the tenth pole, where you can see the structure if

298
00:15:40.080 --> 00:15:43.519
<v Speaker 2>it's story first, if it's these characters are just drifting

299
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<v Speaker 2>through a story to get to a twist reveal.

300
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<v Speaker 3>Or whatever it is.

301
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<v Speaker 2>So I really wanted to make sure that it's character

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<v Speaker 2>first all the way, and hopefully when people read these stories,

303
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<v Speaker 2>they'll see that it's not always the same outcome. It's

304
00:15:56.080 --> 00:15:59.480
<v Speaker 2>not always and that's also something that I wanted to

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00:15:59.480 --> 00:15:59.879
<v Speaker 2>break away.

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<v Speaker 3>For the show.

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<v Speaker 2>There is in some episodes a similar structure to how

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00:16:04.320 --> 00:16:07.120
<v Speaker 2>he escapes or solves the problem, which is indicative of

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00:16:07.159 --> 00:16:09.480
<v Speaker 2>that genre. But when you have an opportunity to write

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<v Speaker 2>new short stories with this character you love, I wanted

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00:16:12.159 --> 00:16:14.000
<v Speaker 2>to break the rules a little bit, and like you said,

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<v Speaker 2>I was excited to put him in situations that, in

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<v Speaker 2>some respects might feel familiar to fans of the show

314
00:16:20.200 --> 00:16:22.759
<v Speaker 2>and the character, but in other respects may feel like

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<v Speaker 2>I've never actually thought about Carl being in that situation.

316
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<v Speaker 2>How would he get out of it? And honestly, that's

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<v Speaker 2>what I asked myself, if you put Carl, if you

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<v Speaker 2>have Carl Carl break down in the middle of nowhere

319
00:16:33.879 --> 00:16:36.960
<v Speaker 2>and something terrifying start's happening, how does he deal with

320
00:16:37.000 --> 00:16:38.559
<v Speaker 2>it where there's no one else to help him.

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<v Speaker 3>So that kind of.

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<v Speaker 1>Idea I noticed. The of course, the settings of the

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00:16:43.000 --> 00:16:46.399
<v Speaker 1>stories are very important, at least for me trying to

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<v Speaker 1>figure out where Carl is at in his career at

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<v Speaker 1>this point. How important was setting for you and especially

326
00:16:52.080 --> 00:16:54.600
<v Speaker 1>time period, because that has to be another challenge for you.

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<v Speaker 2>Yes, that was actually really interesting discussion with Moonstone Books,

328
00:16:58.840 --> 00:17:02.080
<v Speaker 2>because again, when you're dabbling in the world of a

329
00:17:02.080 --> 00:17:05.279
<v Speaker 2>licensed character, you are told a lot of things that

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<v Speaker 2>you wouldn't know as a fan. And so I learned

331
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<v Speaker 2>that in the nineties when jeff Rice was still around

332
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<v Speaker 2>at the Creative Culture. Of course jeff Rice the genius was.

333
00:17:16.920 --> 00:17:20.839
<v Speaker 2>It was with Mark Dewidziak, who was a writer and

334
00:17:20.839 --> 00:17:25.000
<v Speaker 2>added of many books and the cultcho phenomenon mythology. They

335
00:17:25.119 --> 00:17:28.480
<v Speaker 2>collaborated on this concept that basically after the end of

336
00:17:28.480 --> 00:17:32.000
<v Speaker 2>the TV series they did move to Hollywood. They moved

337
00:17:32.039 --> 00:17:35.039
<v Speaker 2>to this thing called Hollywood Dispatch, and the crew essentially

338
00:17:35.079 --> 00:17:37.640
<v Speaker 2>all moved there and the rules got really set in

339
00:17:37.759 --> 00:17:40.680
<v Speaker 2>terms of the licensed comic books and pros. That happened

340
00:17:40.680 --> 00:17:42.880
<v Speaker 2>from the sort of late nineties onwards, I think it was.

341
00:17:43.240 --> 00:17:45.640
<v Speaker 2>And so again I didn't know that, but it was

342
00:17:46.799 --> 00:17:51.440
<v Speaker 2>incredibly fortuitous because I live in Los Angeles and so

343
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<v Speaker 2>hearing that, oh, okay, the Hollywood Dispatch.

344
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<v Speaker 3>Oh, this is.

345
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<v Speaker 2>Exciting because, to be honest, that was a huge influence

346
00:17:58.279 --> 00:18:02.000
<v Speaker 2>just knowing that information and that you had to frame

347
00:18:02.039 --> 00:18:05.640
<v Speaker 2>things around that location and you couldn't riff on flashbacks

348
00:18:05.640 --> 00:18:07.640
<v Speaker 2>to Chicago or whatever. It was all about the here

349
00:18:07.720 --> 00:18:10.880
<v Speaker 2>and now in the Hollywood Dispatch was great because I've

350
00:18:10.920 --> 00:18:13.720
<v Speaker 2>been to Catalina Island a bunch of times. It's a

351
00:18:13.839 --> 00:18:18.640
<v Speaker 2>very evocative, inspiring place for stories. Anyway, I'm fascinated by

352
00:18:18.680 --> 00:18:21.440
<v Speaker 2>the UFO phenomenon. I know there are sightings around Catalina,

353
00:18:21.559 --> 00:18:24.240
<v Speaker 2>So that idea was like, Okay, we should re dabble

354
00:18:24.400 --> 00:18:28.000
<v Speaker 2>in some way hit that's territory. But then just thinking

355
00:18:28.039 --> 00:18:31.799
<v Speaker 2>about different areas that are not too far from LA

356
00:18:31.880 --> 00:18:35.200
<v Speaker 2>that could be conceivable that the fans would think, yeah,

357
00:18:35.279 --> 00:18:37.759
<v Speaker 2>that works if there's something that's Fresno based, or even

358
00:18:38.319 --> 00:18:41.400
<v Speaker 2>the Lake Tahoe story. It's a long drive, but it's

359
00:18:41.440 --> 00:18:44.680
<v Speaker 2>not like a five day drive. So for me, it

360
00:18:44.759 --> 00:18:47.079
<v Speaker 2>was looking at the map, but it was thinking about locales,

361
00:18:47.119 --> 00:18:51.839
<v Speaker 2>thinking about environments in terms of an isolation of environments

362
00:18:51.960 --> 00:18:55.119
<v Speaker 2>or like an expansive, beautiful setting. I really wanted to

363
00:18:55.200 --> 00:18:57.279
<v Speaker 2>mix things up a lot, and in terms of throwing

364
00:18:57.480 --> 00:19:01.400
<v Speaker 2>Kolchak into situations. As we said, he was dead, sir

365
00:19:01.480 --> 00:19:03.160
<v Speaker 2>on he was going to solve this or get out

366
00:19:03.160 --> 00:19:05.519
<v Speaker 2>of this, but maybe he hadn't really encountered this kind

367
00:19:05.559 --> 00:19:08.960
<v Speaker 2>of thing before. And in that respect with monsters, I

368
00:19:09.039 --> 00:19:12.319
<v Speaker 2>love that the show tackled a lot of classic monsters

369
00:19:12.440 --> 00:19:15.640
<v Speaker 2>or riffs on classic monster mythology. And it was another

370
00:19:15.720 --> 00:19:18.160
<v Speaker 2>challenge that I really wanted to rise to, which was, Okay,

371
00:19:18.799 --> 00:19:21.000
<v Speaker 2>we'll do things. We'll do some kind of haunting thing

372
00:19:21.039 --> 00:19:23.759
<v Speaker 2>that's obviously related to a ghost in some respect, but

373
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<v Speaker 2>I wanted to challenge myself as well on riff on

374
00:19:27.119 --> 00:19:27.920
<v Speaker 2>new mythologies.

375
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<v Speaker 3>I wanted to come up with.

376
00:19:30.200 --> 00:19:31.960
<v Speaker 2>There's a phrase that I think it was in the

377
00:19:32.000 --> 00:19:34.599
<v Speaker 2>TV show Fringe, and I think it was also then

378
00:19:34.599 --> 00:19:36.759
<v Speaker 2>adopted by the TV show Sleepy Hollow. But this phrase

379
00:19:36.799 --> 00:19:40.720
<v Speaker 2>called twistery where they take actual history and they just

380
00:19:40.839 --> 00:19:44.240
<v Speaker 2>bend it slightly. So that I love this concept, especially

381
00:19:44.240 --> 00:19:47.440
<v Speaker 2>with Colchak's stories, because he's a reporter that the reader

382
00:19:47.519 --> 00:19:51.000
<v Speaker 2>is thinking as they're reading it, I'm being told something historical,

383
00:19:51.480 --> 00:19:55.240
<v Speaker 2>but is this completely real or is it completely fictional

384
00:19:55.359 --> 00:19:57.759
<v Speaker 2>or somewhere in between? And so I love that as

385
00:19:57.799 --> 00:19:59.599
<v Speaker 2>a writer I love doing that kind of research and

386
00:19:59.720 --> 00:20:02.839
<v Speaker 2>just hold things on top of one another. That's true

387
00:20:02.839 --> 00:20:05.720
<v Speaker 2>of all the stories. There are things that are absolutely

388
00:20:05.759 --> 00:20:09.119
<v Speaker 2>true and things that are absolutely you know, a question mark,

389
00:20:10.440 --> 00:20:12.720
<v Speaker 2>and there are things that are completely invented. But I'm

390
00:20:12.720 --> 00:20:14.240
<v Speaker 2>not going to tell you I'm gonna I'm not going

391
00:20:14.279 --> 00:20:16.079
<v Speaker 2>to ruin the magic trick and telling how those things

392
00:20:16.079 --> 00:20:16.640
<v Speaker 2>sold out.

393
00:20:16.799 --> 00:20:18.480
<v Speaker 3>But in terms of the period, You're right.

394
00:20:18.480 --> 00:20:21.359
<v Speaker 2>That was a real challenge because I was thinking about

395
00:20:21.400 --> 00:20:24.400
<v Speaker 2>if it's the nineties onwards Heathen Hollywood Dispatch, he's a

396
00:20:24.440 --> 00:20:26.880
<v Speaker 2>lot older. And it was another rule I was told

397
00:20:26.880 --> 00:20:29.079
<v Speaker 2>by a Moonstone, which is a terrific rule, which is

398
00:20:29.440 --> 00:20:34.319
<v Speaker 2>we never specify the year. You can specify calendar dates

399
00:20:34.319 --> 00:20:37.599
<v Speaker 2>with days and months whatever, but we basically act like

400
00:20:37.680 --> 00:20:42.160
<v Speaker 2>it's the present in quotes, it's just happening. And as

401
00:20:42.200 --> 00:20:46.440
<v Speaker 2>a fan, I wanted to keep that seventies vibe in

402
00:20:46.519 --> 00:20:49.160
<v Speaker 2>the stories, that things feel like they have that period.

403
00:20:49.720 --> 00:20:52.200
<v Speaker 2>I absolutely didn't want to go near anything that would

404
00:20:52.200 --> 00:20:56.599
<v Speaker 2>technologically not fit in that space, but just make sure

405
00:20:56.640 --> 00:20:59.200
<v Speaker 2>the rules of the story feel like for me. I

406
00:20:59.240 --> 00:21:01.000
<v Speaker 2>just wanted to do a great companion into the vibe

407
00:21:01.000 --> 00:21:03.119
<v Speaker 2>of the TV showing the movie. So I wasn't interested

408
00:21:03.119 --> 00:21:05.839
<v Speaker 2>in even leaning near the sort of late sentits or

409
00:21:05.839 --> 00:21:07.000
<v Speaker 2>early eighties ideas.

410
00:21:07.079 --> 00:21:09.799
<v Speaker 3>It was just, this is just Coljak's world. We'll live

411
00:21:09.799 --> 00:21:10.839
<v Speaker 3>in that. Yeah.

412
00:21:10.880 --> 00:21:14.319
<v Speaker 1>I can't see Colchack using computer. I can't see him googling.

413
00:21:14.920 --> 00:21:18.480
<v Speaker 1>I can't see him using a cell phone. That would

414
00:21:18.559 --> 00:21:21.400
<v Speaker 1>just be wrong. If he sends a text to Tony that.

415
00:21:22.119 --> 00:21:25.519
<v Speaker 3>Yeah. No, Honestly, if I'd have been sold, that was

416
00:21:25.519 --> 00:21:25.920
<v Speaker 3>the rule.

417
00:21:26.359 --> 00:21:29.039
<v Speaker 2>I maybe I don't think I would have been thick

418
00:21:29.119 --> 00:21:31.680
<v Speaker 2>on the project because you think I want to stay

419
00:21:31.680 --> 00:21:33.480
<v Speaker 2>in that analogue space. And I love the idea of

420
00:21:33.559 --> 00:21:36.000
<v Speaker 2>him finding a payphone or asking to use the phone

421
00:21:36.039 --> 00:21:39.400
<v Speaker 2>at a motel, whatever it is. It just feels that's

422
00:21:39.440 --> 00:21:41.079
<v Speaker 2>the character, isn't it. Like he said, it just doesn't

423
00:21:41.079 --> 00:21:41.440
<v Speaker 2>really fit.

424
00:21:42.240 --> 00:21:44.599
<v Speaker 1>Those were the struggles he had to go through, just

425
00:21:44.960 --> 00:21:48.839
<v Speaker 1>finding a pencil, his notebook, the tape recorder. Even though

426
00:21:48.880 --> 00:21:51.640
<v Speaker 1>you don't think of them as trappings of Colchack, they

427
00:21:51.640 --> 00:21:55.079
<v Speaker 1>are trappings of Colchack. The time period is an essential

428
00:21:55.119 --> 00:21:57.640
<v Speaker 1>part of them, and I think that's probably where the

429
00:21:57.839 --> 00:21:59.240
<v Speaker 1>newer one got into trouble.

430
00:21:59.279 --> 00:22:01.559
<v Speaker 3>Sometimes, Yes, I think, yeah it was.

431
00:22:01.880 --> 00:22:03.839
<v Speaker 2>I think I did see a couple of the episodes

432
00:22:03.880 --> 00:22:05.920
<v Speaker 2>of the new one, But I think it was it

433
00:22:06.039 --> 00:22:08.759
<v Speaker 2>was so different that it almost if you joined the

434
00:22:08.799 --> 00:22:11.599
<v Speaker 2>show ten minutes in it hadn't seen the opening or

435
00:22:11.599 --> 00:22:13.599
<v Speaker 2>hadn't heard the character names, I think you'd be forgiven

436
00:22:13.640 --> 00:22:16.759
<v Speaker 2>for thinking it was a completely different remix or approach

437
00:22:16.759 --> 00:22:20.599
<v Speaker 2>of new characters, which I guess that was there. That

438
00:22:20.759 --> 00:22:23.759
<v Speaker 2>was their idea and their approach. But like you say, yeah,

439
00:22:23.799 --> 00:22:26.440
<v Speaker 2>there's just there's something about those challenges which he faced

440
00:22:26.440 --> 00:22:29.119
<v Speaker 2>as a reporter that it's not that no one believed him,

441
00:22:29.119 --> 00:22:32.119
<v Speaker 2>it's the fact that he was. There was so many

442
00:22:32.119 --> 00:22:33.480
<v Speaker 2>other things that he had to deal with on a

443
00:22:33.519 --> 00:22:37.279
<v Speaker 2>minute by minute basis and let her know the overall

444
00:22:37.440 --> 00:22:39.799
<v Speaker 2>arching of can we stop this MOUs to killing people?

445
00:22:40.440 --> 00:22:45.240
<v Speaker 1>I'd like to that one of your challenges wasn't necessarily there,

446
00:22:45.480 --> 00:22:48.240
<v Speaker 1>which is budget. If you if this is a Carl

447
00:22:48.279 --> 00:22:51.039
<v Speaker 1>Colchak story, you can take him to Paris so you

448
00:22:51.079 --> 00:22:54.200
<v Speaker 1>don't have to worry about what are the production costs

449
00:22:54.200 --> 00:22:56.359
<v Speaker 1>in order to get Darren McGavin in front of the

450
00:22:56.400 --> 00:22:57.119
<v Speaker 1>Eiffel Tower.

451
00:22:57.799 --> 00:23:01.119
<v Speaker 2>Yes, absolutely, that is a That story was really fun

452
00:23:01.119 --> 00:23:03.440
<v Speaker 2>in that respect because I had been to Paris and

453
00:23:03.519 --> 00:23:05.759
<v Speaker 2>but again the just the some of the imagery of

454
00:23:05.799 --> 00:23:10.240
<v Speaker 2>Paris is so evocative of literally that story with the

455
00:23:10.279 --> 00:23:13.640
<v Speaker 2>most fun in terms of locations because you get maps out.

456
00:23:13.720 --> 00:23:17.039
<v Speaker 2>You literally bring maps up and I'm figuring out the

457
00:23:17.079 --> 00:23:21.160
<v Speaker 2>real hotel where he's staying. How does that inform the story?

458
00:23:21.279 --> 00:23:23.359
<v Speaker 2>Like how far is the way from Notre Dame? Could

459
00:23:23.359 --> 00:23:26.920
<v Speaker 2>something conceivably have happened between those two events? Where would

460
00:23:26.920 --> 00:23:28.960
<v Speaker 2>other people he encounters, where would they live? How does

461
00:23:29.000 --> 00:23:32.200
<v Speaker 2>that inform the stories too? You start looking up where

462
00:23:32.200 --> 00:23:36.119
<v Speaker 2>the reports some certain among the things, so you really,

463
00:23:36.160 --> 00:23:38.920
<v Speaker 2>as you say, without a budget, you can really go

464
00:23:39.000 --> 00:23:41.599
<v Speaker 2>to town in terms of short story and just have

465
00:23:41.759 --> 00:23:45.200
<v Speaker 2>him encounter things that would be a lot more expensive

466
00:23:45.240 --> 00:23:46.240
<v Speaker 2>to put on camera for Shure.

467
00:23:46.799 --> 00:23:48.960
<v Speaker 1>Yeah, that was one thing that we always complained about

468
00:23:49.000 --> 00:23:52.799
<v Speaker 1>on the call Jack Tapes was invisible monsters. There were

469
00:23:52.839 --> 00:23:55.880
<v Speaker 1>so many invisible monsters because it was a lot cheaper.

470
00:23:56.680 --> 00:23:57.680
<v Speaker 3>They had great stories.

471
00:23:57.720 --> 00:23:59.440
<v Speaker 2>But I totally know what you mean, and it's almost

472
00:23:59.519 --> 00:24:02.880
<v Speaker 2>like the match of Minido, the reveal of the those

473
00:24:02.920 --> 00:24:05.720
<v Speaker 2>photographs will send but wrobably the most sort of striking

474
00:24:05.759 --> 00:24:08.000
<v Speaker 2>thing of that whole episode because it's I guess it's

475
00:24:08.160 --> 00:24:10.200
<v Speaker 2>the payoff and as a fan, you're going, oh wow,

476
00:24:10.240 --> 00:24:13.759
<v Speaker 2>this thing's gigantic and it's this this god essentially with

477
00:24:13.759 --> 00:24:16.559
<v Speaker 2>this eyeball just staring out of the montage of photos

478
00:24:16.640 --> 00:24:19.079
<v Speaker 2>or the But that's always fun as well when you're

479
00:24:19.079 --> 00:24:22.440
<v Speaker 2>thinking about the unseen and describing those things is always

480
00:24:22.440 --> 00:24:25.279
<v Speaker 2>a great challenge as well instead of worrying about I

481
00:24:25.319 --> 00:24:27.400
<v Speaker 2>guess it's my love of Jaws. That's my favorite movie.

482
00:24:27.559 --> 00:24:29.960
<v Speaker 2>So I love the idea of just slowly eking out

483
00:24:30.799 --> 00:24:34.440
<v Speaker 2>the tendrils or something, especially with the first story, having

484
00:24:34.680 --> 00:24:37.480
<v Speaker 2>the specter or the mystery or the antagonist just slowly

485
00:24:37.759 --> 00:24:40.400
<v Speaker 2>come into the frame or tron it to spoiled thing

486
00:24:40.480 --> 00:24:43.200
<v Speaker 2>too much it's people or listening haven't read this, or

487
00:24:43.200 --> 00:24:45.960
<v Speaker 2>a ques to read it. That's one of my favorite

488
00:24:45.960 --> 00:24:48.680
<v Speaker 2>things to do is that don't don't show anything all

489
00:24:48.720 --> 00:24:51.160
<v Speaker 2>at once, just do the Jaws thing, just slowly eke

490
00:24:51.200 --> 00:24:53.519
<v Speaker 2>out what the mystery is. And then when there is

491
00:24:53.559 --> 00:24:57.400
<v Speaker 2>a reveal, it should be that brody chumming the water moment.

492
00:24:57.440 --> 00:25:00.799
<v Speaker 2>It should be terrifying, but the character the carhold to

493
00:25:00.839 --> 00:25:03.759
<v Speaker 2>be what is happening, and also for the audience going,

494
00:25:03.759 --> 00:25:06.640
<v Speaker 2>oh my goodness, this is actually more terrifying than I expected.

495
00:25:07.279 --> 00:25:10.000
<v Speaker 1>Though Carol is no slouch when it comes to the supernatural.

496
00:25:10.039 --> 00:25:12.960
<v Speaker 1>There's a lot of times Okay, yeah, I've seen this

497
00:25:13.079 --> 00:25:14.279
<v Speaker 1>kind of thing before.

498
00:25:14.519 --> 00:25:17.480
<v Speaker 2>And that's exactly right. And having I think that was

499
00:25:17.480 --> 00:25:18.519
<v Speaker 2>also a motivator.

500
00:25:18.839 --> 00:25:20.039
<v Speaker 3>You just poked my brain.

501
00:25:20.119 --> 00:25:22.319
<v Speaker 2>I think that it was a big motivator in doing

502
00:25:22.359 --> 00:25:26.160
<v Speaker 2>new things, in doing creature or phenomena that is at

503
00:25:26.279 --> 00:25:29.160
<v Speaker 2>least a sidestep away from what he's encountered before, just

504
00:25:29.200 --> 00:25:32.359
<v Speaker 2>to jar him a little bit, just to have him going, Okay, yes,

505
00:25:32.440 --> 00:25:36.200
<v Speaker 2>I know slacker when it comes to seeing the horrifying things.

506
00:25:36.680 --> 00:25:39.000
<v Speaker 2>But wait a second, this might be on a level

507
00:25:39.000 --> 00:25:41.640
<v Speaker 2>that I don't even understand, because that kind of just

508
00:25:41.880 --> 00:25:45.920
<v Speaker 2>refreshes the concept, doesn't it, of the reporter surviving the supernatural?

509
00:25:46.519 --> 00:25:49.400
<v Speaker 1>With you being such a prolific writer, how long did

510
00:25:49.400 --> 00:25:51.000
<v Speaker 1>it take you to put this project together?

511
00:25:51.720 --> 00:25:51.880
<v Speaker 3>Ah?

512
00:25:52.000 --> 00:25:55.400
<v Speaker 2>Let me think, reversing my brain in the wayback machine,

513
00:25:55.960 --> 00:25:58.599
<v Speaker 2>it was all twenty twenty three last year, so I

514
00:25:58.640 --> 00:26:03.799
<v Speaker 2>think the story and the collection promises was probably there's

515
00:26:03.839 --> 00:26:06.440
<v Speaker 2>probably a couple of months in terms of everything. But

516
00:26:06.599 --> 00:26:09.599
<v Speaker 2>from the very start, Okay, let's figure out how is

517
00:26:09.599 --> 00:26:10.759
<v Speaker 2>this parastory gonna work?

518
00:26:11.440 --> 00:26:12.960
<v Speaker 3>The other four stories.

519
00:26:12.640 --> 00:26:18.920
<v Speaker 2>Were actually in total around i'd say maybe eight to

520
00:26:19.000 --> 00:26:23.000
<v Speaker 2>ten weeks. They came together pretty quickly, I think because

521
00:26:23.880 --> 00:26:27.240
<v Speaker 2>once you're inside that world in their headspace, you're again

522
00:26:27.279 --> 00:26:29.079
<v Speaker 2>there's just a fever pitch quality to it.

523
00:26:29.119 --> 00:26:31.000
<v Speaker 3>You're going okay. And I think because.

524
00:26:32.359 --> 00:26:34.240
<v Speaker 2>One thing I will say was I was really happy

525
00:26:34.279 --> 00:26:36.480
<v Speaker 2>with the Paris story, the final story, which is called

526
00:26:36.480 --> 00:26:39.920
<v Speaker 2>promises Promises. But there's also a problem with that when

527
00:26:39.960 --> 00:26:43.400
<v Speaker 2>you go okay, I've written a quotes unquote like spec

528
00:26:43.480 --> 00:26:47.319
<v Speaker 2>script for a coll Chack story, and then like an idiot,

529
00:26:47.440 --> 00:26:50.640
<v Speaker 2>you pitch doing four more and then you go, well,

530
00:26:50.640 --> 00:26:52.359
<v Speaker 2>I want those to be as good as this one.

531
00:26:52.400 --> 00:26:55.680
<v Speaker 2>But I feel like I landed this. Is it even

532
00:26:55.799 --> 00:26:59.079
<v Speaker 2>possiblity four other ones? But I think that was all

533
00:26:59.160 --> 00:27:01.640
<v Speaker 2>just good creative fuel to go They have to be

534
00:27:01.640 --> 00:27:04.599
<v Speaker 2>because I also, I'm my biggest critic. I don't put

535
00:27:04.599 --> 00:27:07.039
<v Speaker 2>out any books or music that I don't stand by

536
00:27:07.119 --> 00:27:10.960
<v Speaker 2>and say, yes, I think this is of a decent quality. Yeah,

537
00:27:10.960 --> 00:27:13.519
<v Speaker 2>I think all that sort of nightmare fuel of failing

538
00:27:13.680 --> 00:27:16.440
<v Speaker 2>was just great kinetic fuel to get the thing done.

539
00:27:16.599 --> 00:27:19.799
<v Speaker 2>And also because when you are pitching for the stories

540
00:27:19.799 --> 00:27:21.960
<v Speaker 2>that have to be so different to the Paris one.

541
00:27:22.599 --> 00:27:25.400
<v Speaker 2>For me, that's just crazily, very invigorating, because you're going

542
00:27:25.559 --> 00:27:27.680
<v Speaker 2>I have to, as you say, the colors of the rainbow.

543
00:27:27.680 --> 00:27:30.759
<v Speaker 2>We have to figure out all these different tones. One

544
00:27:30.880 --> 00:27:33.839
<v Speaker 2>note I got was great was moved from Moonstone, which

545
00:27:33.880 --> 00:27:36.000
<v Speaker 2>I completely agree with in terms of there's been so

546
00:27:36.039 --> 00:27:39.640
<v Speaker 2>many other great Moodstone adaptation things for culture with comics

547
00:27:39.640 --> 00:27:42.559
<v Speaker 2>and prose, the two things i'd say that I really

548
00:27:42.559 --> 00:27:45.680
<v Speaker 2>loved the feedback from the first story, which didn't have

549
00:27:46.279 --> 00:27:50.000
<v Speaker 2>story notes, but was yeah, culture works the best when

550
00:27:50.039 --> 00:27:54.880
<v Speaker 2>it is scary. This is about essentially a horror mystery genre.

551
00:27:55.279 --> 00:27:58.480
<v Speaker 2>It's not comedy. That's not what the character is.

552
00:27:58.519 --> 00:28:02.240
<v Speaker 3>That's not the show. But also Carl has to lead.

553
00:28:02.119 --> 00:28:06.000
<v Speaker 2>Things through the stories that he encounters. If there is

554
00:28:06.039 --> 00:28:09.400
<v Speaker 2>a collection, have a kind of palate cleanser, have something

555
00:28:09.440 --> 00:28:14.079
<v Speaker 2>that doesn't necessarily have a familiar structure to it. And

556
00:28:14.160 --> 00:28:17.119
<v Speaker 2>so the fourth story for me was my kind of

557
00:28:17.160 --> 00:28:20.079
<v Speaker 2>the odd story moment, which is called Kindness Can Kill You.

558
00:28:20.640 --> 00:28:22.599
<v Speaker 2>And I won't spoil what the story is, but for me,

559
00:28:22.720 --> 00:28:26.839
<v Speaker 2>that was a completely different scenario that Carl hasn't countered

560
00:28:26.880 --> 00:28:32.960
<v Speaker 2>before and just broke the formula of the reporter getting

561
00:28:32.960 --> 00:28:36.680
<v Speaker 2>wind of something and investigating something that it's a character

562
00:28:36.759 --> 00:28:40.920
<v Speaker 2>being thrown into situation that he is absolutely no preparation

563
00:28:41.000 --> 00:28:44.799
<v Speaker 2>for at all and is completely stuffed in many respects.

564
00:28:45.039 --> 00:28:47.119
<v Speaker 2>And for me, that's just a great writing challenge to

565
00:28:47.160 --> 00:28:49.599
<v Speaker 2>go is that a story? How can you make that

566
00:28:49.680 --> 00:28:53.240
<v Speaker 2>interesting story? And obviously he does survive because he's a protagonist.

567
00:28:53.680 --> 00:28:56.039
<v Speaker 2>You want to kill Cock or Jack, but what is

568
00:28:56.079 --> 00:28:58.440
<v Speaker 2>the exit strategy in those kind of scenarios.

569
00:28:59.039 --> 00:29:00.559
<v Speaker 1>That's true too, it I didn't even think about that

570
00:29:00.640 --> 00:29:04.160
<v Speaker 1>as far as the tone of those first two TV

571
00:29:04.319 --> 00:29:07.119
<v Speaker 1>movies is so different than the tone of the TV show,

572
00:29:07.599 --> 00:29:09.519
<v Speaker 1>So it definitely felt like you were going more for

573
00:29:09.599 --> 00:29:12.519
<v Speaker 1>that horrific tone of those first two films.

574
00:29:13.119 --> 00:29:16.400
<v Speaker 2>I wanted the quirky humor to come out of characters

575
00:29:16.400 --> 00:29:20.039
<v Speaker 2>interacting or just Carl's thought processes in terms of when

576
00:29:20.079 --> 00:29:23.079
<v Speaker 2>he has that great any monologue with the voiceover or

577
00:29:23.160 --> 00:29:26.000
<v Speaker 2>we either get a sense of him recording something on

578
00:29:26.039 --> 00:29:30.160
<v Speaker 2>a tape recorder from the voiceover motif, or it's just

579
00:29:30.200 --> 00:29:32.680
<v Speaker 2>his thought processes. And I think he's such a witty

580
00:29:32.759 --> 00:29:35.799
<v Speaker 2>character in terms of the drafts, if you like, of

581
00:29:35.839 --> 00:29:41.279
<v Speaker 2>he's reporting. But yeah, that these situations are we see

582
00:29:41.319 --> 00:29:44.440
<v Speaker 2>Carl terrified, or we see Carl wide eyed, but he's

583
00:29:44.480 --> 00:29:47.279
<v Speaker 2>never super confident unless he's I love the way that

584
00:29:47.319 --> 00:29:50.039
<v Speaker 2>when he's cracked a theory, when he thinks, Okay, maybe

585
00:29:50.039 --> 00:29:51.960
<v Speaker 2>this flash is going to work for these aliens, maybe

586
00:29:52.000 --> 00:29:54.279
<v Speaker 2>I'm going to try the Or he has a revelation

587
00:29:54.759 --> 00:29:56.480
<v Speaker 2>and he's trying to plead with someone that say, know,

588
00:29:56.559 --> 00:29:58.960
<v Speaker 2>this actually is going to help us, this actually is

589
00:29:58.960 --> 00:30:01.599
<v Speaker 2>going to solve the situation. But yeah, I definitely I

590
00:30:01.720 --> 00:30:04.880
<v Speaker 2>enjoyed Moonstone, sort of true north of that going. Don't

591
00:30:05.079 --> 00:30:07.400
<v Speaker 2>veer too much into comedy, don't veer too much into

592
00:30:07.440 --> 00:30:10.519
<v Speaker 2>other genres that are away from the horror genre, because

593
00:30:10.599 --> 00:30:13.279
<v Speaker 2>it really is. The beating heart of the show is

594
00:30:14.160 --> 00:30:18.359
<v Speaker 2>the monsters, the fear, and the disbelief. If he's encountering

595
00:30:18.400 --> 00:30:20.440
<v Speaker 2>things which no one else is believing, not even his

596
00:30:20.759 --> 00:30:23.680
<v Speaker 2>editor publisher thinks there's a shred of truth to it,

597
00:30:24.359 --> 00:30:26.640
<v Speaker 2>that's just a great anchor to keep going down the road.

598
00:30:26.519 --> 00:30:29.359
<v Speaker 1>Of Now that you've been in Carl Kolchak's head, do

599
00:30:29.359 --> 00:30:31.640
<v Speaker 1>you want to go back? Is there more call chack

600
00:30:31.680 --> 00:30:32.440
<v Speaker 1>coming out from you?

601
00:30:33.359 --> 00:30:36.960
<v Speaker 2>Nothing planned yet, but I definitely could be tempted. Yes,

602
00:30:37.039 --> 00:30:39.880
<v Speaker 2>I think I should again do that thing of saying

603
00:30:39.960 --> 00:30:42.799
<v Speaker 2>yes now on the podcast and challenging myself to see

604
00:30:42.799 --> 00:30:45.599
<v Speaker 2>whether I could do it another story or collection of the

605
00:30:45.599 --> 00:30:50.440
<v Speaker 2>short stories. But if it never happens, I'm so thrilled

606
00:30:50.440 --> 00:30:53.200
<v Speaker 2>that this exists, because, as I say, for what I

607
00:30:53.200 --> 00:30:55.440
<v Speaker 2>thought was going to be one story became the collection

608
00:30:55.480 --> 00:30:58.119
<v Speaker 2>of five that I'm really proud of. And it's a

609
00:30:58.160 --> 00:31:00.319
<v Speaker 2>thrill to hear that you enjoy them. That's the it's

610
00:31:00.319 --> 00:31:04.000
<v Speaker 2>always terrifying thinking polease. Fans know that it's a fan

611
00:31:04.079 --> 00:31:06.559
<v Speaker 2>writing them, and it's a fan trying to do his best.

612
00:31:06.559 --> 00:31:08.359
<v Speaker 2>So if you enjoy them, that's fantastic.

613
00:31:08.960 --> 00:31:11.359
<v Speaker 1>It doesn't feel like fan fiction. It doesn't feel like

614
00:31:11.400 --> 00:31:13.640
<v Speaker 1>something I could fine on the internet. These are real,

615
00:31:13.920 --> 00:31:19.039
<v Speaker 1>actual stories, polished, beautifully paced, super well written. So thank

616
00:31:19.079 --> 00:31:19.960
<v Speaker 1>you for doing that.

617
00:31:20.359 --> 00:31:22.720
<v Speaker 2>Thank you, sir. No, that's can I have that as

618
00:31:22.720 --> 00:31:24.799
<v Speaker 2>a pull quote? I'll put them on post.

619
00:31:25.319 --> 00:31:27.599
<v Speaker 1>Talking about how prolific you are. What are you working

620
00:31:27.640 --> 00:31:30.519
<v Speaker 1>on right now? Because you've got so many different projects

621
00:31:30.559 --> 00:31:30.960
<v Speaker 1>that you do.

622
00:31:31.960 --> 00:31:34.279
<v Speaker 2>There is the volume two of the X Files, the

623
00:31:34.279 --> 00:31:37.680
<v Speaker 2>official Archives, which I'm still busy hard working out. That's

624
00:31:37.720 --> 00:31:40.880
<v Speaker 2>been a long project and ongoing projects since the first volume.

625
00:31:40.920 --> 00:31:43.519
<v Speaker 2>So that's that's a really exciting one for me because

626
00:31:43.519 --> 00:31:46.160
<v Speaker 2>it's the entire mythology of the X Files, going back

627
00:31:46.200 --> 00:31:49.079
<v Speaker 2>from season one or worth through the season eleven, presented

628
00:31:49.119 --> 00:31:51.519
<v Speaker 2>in a similar way to Volume one in terms of

629
00:31:51.559 --> 00:31:55.240
<v Speaker 2>these are the reports that the agents are filing with

630
00:31:55.359 --> 00:31:57.160
<v Speaker 2>some twist and turns surprises should we stay in this

631
00:31:57.200 --> 00:32:00.839
<v Speaker 2>particular volume because when you're handling the mythol the X Files,

632
00:32:00.839 --> 00:32:04.200
<v Speaker 2>there's a lot of things which aren't necessarily which can't

633
00:32:04.200 --> 00:32:06.960
<v Speaker 2>necessarily be handled as exact reports. There's some other ways

634
00:32:07.000 --> 00:32:10.160
<v Speaker 2>to handle those things creatively. Music wise, I just did

635
00:32:10.160 --> 00:32:14.359
<v Speaker 2>a really fun soundtrack for there's another podcast called Return

636
00:32:14.359 --> 00:32:16.480
<v Speaker 2>of the Pod, which is a begin of the Star

637
00:32:16.519 --> 00:32:18.359
<v Speaker 2>Wars led podcast but become more of a kind of

638
00:32:18.359 --> 00:32:22.000
<v Speaker 2>pop culture podcast, and they wanted a new main scene

639
00:32:22.119 --> 00:32:24.759
<v Speaker 2>that expanded to being a bunch of cues of themes

640
00:32:24.799 --> 00:32:26.400
<v Speaker 2>for their shows. That was really fun to do because

641
00:32:26.400 --> 00:32:29.319
<v Speaker 2>they're great guys. That's a really fun show. And there's

642
00:32:29.359 --> 00:32:33.480
<v Speaker 2>a film that's crony in pre production called Kilter, which

643
00:32:33.519 --> 00:32:36.119
<v Speaker 2>I'm attached to as a composer, So that's shooting in

644
00:32:36.160 --> 00:32:40.359
<v Speaker 2>about eight weeks, which is a short which is basically

645
00:32:40.440 --> 00:32:42.759
<v Speaker 2>a proof of concept for a feature, which is a

646
00:32:43.640 --> 00:32:45.640
<v Speaker 2>director called Bartley Taylor, who I've worked with before.

647
00:32:46.400 --> 00:32:47.839
<v Speaker 3>Great director, great creative.

648
00:32:48.599 --> 00:32:49.960
<v Speaker 2>The rest of the year is nice and busy, which

649
00:32:50.000 --> 00:32:51.880
<v Speaker 2>is always nice, and I love to be able to

650
00:32:51.880 --> 00:32:56.240
<v Speaker 2>balance between books and music projects slash film products because

651
00:32:56.599 --> 00:32:58.880
<v Speaker 2>they do inform each other. A lot of people think

652
00:32:58.920 --> 00:33:02.640
<v Speaker 2>it's very chalk and cheese, but it's not. They're very

653
00:33:02.680 --> 00:33:06.079
<v Speaker 2>much about structure and storytelling and pacing, like you say,

654
00:33:06.119 --> 00:33:09.119
<v Speaker 2>and so I think that the more eclectic things that

655
00:33:09.160 --> 00:33:11.720
<v Speaker 2>I do just for myself, I feel like it informs

656
00:33:11.920 --> 00:33:14.799
<v Speaker 2>the other projects really well and just improves everything.

657
00:33:15.400 --> 00:33:17.279
<v Speaker 1>Where's the best place for people to keep up with

658
00:33:17.319 --> 00:33:17.960
<v Speaker 1>you and your work?

659
00:33:18.640 --> 00:33:22.160
<v Speaker 2>Probably the main website is Paul terryprojects dot com that

660
00:33:22.240 --> 00:33:24.519
<v Speaker 2>sort of has everything covered. So it's just got all

661
00:33:24.559 --> 00:33:27.519
<v Speaker 2>of my yeah, my bookwork, my music work, and anything

662
00:33:27.519 --> 00:33:29.839
<v Speaker 2>in between. You can just figure out, have a click

663
00:33:29.880 --> 00:33:32.440
<v Speaker 2>around and if there's anything that takes you fancy.

664
00:33:32.920 --> 00:33:35.039
<v Speaker 1>Paul, Thank you so much. It was a great talking

665
00:33:35.039 --> 00:33:35.640
<v Speaker 1>with you today.

666
00:33:36.279 --> 00:33:37.880
<v Speaker 2>Thank you so much having me on the show. I

667
00:33:37.920 --> 00:33:39.480
<v Speaker 2>love the show, fan of the show, so it's a

668
00:33:39.519 --> 00:33:41.440
<v Speaker 2>great It's a great opportunity to be on your show.

669
00:33:41.480 --> 00:33:41.960
<v Speaker 3>So thank you.

670
00:34:14.679 --> 00:34:18.840
<v Speaker 2>Up a

671
00:34:20.440 --> 00:35:10.639
<v Speaker 1>Coup sh