If you don't know who SKINNY PUPPY are, then you have very serious problems and should attempt to "corrrr-ect them" immediately (said like Lloyd the bartender).

If, however, you do know who these trendsetting electronic shock-dustrial warlords are, then you'll appreciate the picture below:

That's me and Ogre. 

I met this man who, outside of David Gilmour from Floyd, Ennio Morricone, Clint Mansell and Martin Gore, is my living musical icon, on the set of Darren (SAW 2-4) Bouseman's upcoming rock opera REPO! and promptly scheduled a one on one interview. We had a few beers and chatted and took some ridiculous pictures of which the above is one.

I love this man, of course. Kevin Ogilvie. Nivek Ogre. Ogre. And we have matching hats. Weird.

My full chat with the PUPPY front fiend lurks in the current issue of UK horror magazine THE DARK SIDE (http://www.ebony.co.uk/darkside/thismth.htm) and my extenisve on set report for the brilliant looking REPO! (which also stars Paul Sorvino, Bill Moseley, Sarah Brightman, Alexa Vega and...Paris Hilton) will be featured in an upcoming issue of my home magazine FANGORIA.

I'll keep you posted...

 In the meantime, check out the outrageous REPO! trailer:

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Welcome to the official site of film enthusiast and composer Chris Alexander.

Thanks for dropping by...enjoy your stay.

Feel free to comment on anything you see or hear that either pleases or displeases you.

Lucio Fulci's beautifully brutal 1980 horror tone poem thriller CITY OF THE LIVING DEAD, known to me when I saw it at 12 years old as THE GATES OF HELL . A picture that almost over night turned my cinematic sensibilities around. One of a quick burst of freeform, narratively obscure, living dead gore opera's that started with the 1979 eyeball abusing, Romero inspired cannibal corpse classic ZOMBIE (aka ZOMBI 2) and also includes 1981's HOUSE BY THE CEMETARY and the same years towering, Argento-esque freak out THE BEYOND (aka L'ALDILA), CITY was the first unrated, Italian horror film I'd ever seen. The fact that none of it made any sense, that the "acting" was firmly embedded in quotes and that there wasn't any class of proper ending (the fractured frame climax was a last minute "why not?" editing choice by old man Lucio) only added to the powerful, shuddery dream like logic the film posessed. I was hooked. Still am. It was this film that firmly set me on the path to seek out more decadent entertainments, movies and music (the score by Fabio Frizzi is just as incredible as Fulci's hyper close up "Leone gone to Hell" directorial style), a quest that continues to this day.

I like movies that don't behave. That make me FEEL...that provoke a reaction, whether it be an emotional, intellectual or, in the case of Fulci's golden age gory fever dreams, a physical response.

So now you know.

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