Thanks for taking the time to talk, David, and congratulations on Nightmare Cinema and your short, This Way To Egress. I like how Nightmare Cinema is this grab bag of different nightmarish horror shorts, and yours is really interesting to me because it is so psychological and yet it is so visceral, too. How were you approached to be a part of this?
This Way To The Egress!
David Slade: I'd known Mick for a long time. He does a series of these wonderful dinners, they're big, quite a lot of people go to them. They're usually at a place that isn't too expensive. They used to be Hamburger Hamlet in Hollywood. It was a smokehouse where basically, he gets together like-minded directors that make horror movies. And so I knew Mick that way. And I've met Joe and everybody else through two of those dinners, which are great. I've been a fan of Mick's and his work and what he does for this genre. And he's asked me a few times, he's had a number of these little projects, and when he asked me [about Nightmare Cinema], I just said, "Yeah, I really do have something which could work." And so that's how I began.
David Slade: Yeah, Mick said to me, "You would have complete creative freedom. Do you have a story? Basically, loosely, it's going to be this," and he kind of told me that it's basically an anthology of old-school monster movies or horror movies, going back to the Creepshows and the various things that we love. And do I have something? And it doesn't have to be anything, and the more extreme and insane the better. And I went, "You know what? I do."
Yeah, you certainly did. You adapted a short story [Traumatic Descent] by Lawrence C. Connolly, who also co-wrote the short film with you. I'm curious, what was it about that story that made you think, "I have to translate this to film"?
David Slade: I read that story in 1999 in a little book, I think it's called Borderlands [3]. I was living in London and I was spending a lot of time on the tube and I read a lot of short stories because they were usually about the right length to get you from A to B. And I fell in love with the story and I tried to adapt it into a feature-length film, and I brought it to a friend of mine called Charly Cantor, and together, we worked on this idea. Charly wrote a feature-length version of it. And this is around the year 2000, or earlier.
And then Larry came, read it, and he said, "I love all of it. I don't want to change anything." I said, "We need another scene, though." So Larry wrote another scene for me. I just translated it into a shooting document, and then he helped me with this additional scene, which was the phone calls, which wasn't in the short story. And so that's how we kind of went [about it]. And then, it was almost a year that we spent trying to go from being told, "Okay, you can do it," to my schedule and various other things. And eventually we really shot it, methodically, in about two or three days. And on locations in Los Angeles.
Yeah, and everyone knows her from Haunting of Hill House now, but you had worked with her before on Twilight: Eclipse, and she's been in a ton of stuff over the years. But when you were writing this, when you were doing the later draft of it, did you have her in mind or was it just kind of a happy coincidence?
And I did think of her. Making the Twilight movie was quite insane, and Elizabeth was always really together. She was the antithesis of insanity. I said to her, "Look, this is about someone losing their mind and you're the furthest person I can think of who would lose their mind. So, that's why you should do this." And she was astonishing and I love what she did, and she trusted me and I trusted her and I think her performance is astonishing in it.
David Slade: Kind of, yeah. I stay in touch with Patrick, we email each other, and have phone calls and we meet up every now and again. I'm trying to find something one day for Patrick. I'm definitely gonna work with Patrick multiple times in my career. And so I just had this, and it was a long shot. I'm like, "It's a really big favor to ask. It's just a voice on my telephone line, but I wonder if Patrick would do it, and he said 'yes.'"
It's interesting, too, that you shot this in black and white, because it sets it apart. It's a very colorful anthology and then yours is black and white and almost has this Twilight Zone-esque feeling to it. Was that something you knew you wanted to do?
David Slade: The darkness, the decay, and the filth. Yeah, it does. And you can lean into the underexposure, and there's a kind of metallic silvery-ness to it. Yeah, it just seemed right. I'm not very big on interpretation and explanation, particularly for something like this. But mainly, I went with my emotions and my understanding of feelings and this had the right feeling.
I think with this we acknowledge the power of the subconscious. I believe the subconscious drives a lot more than we'd like to admit that it does in all of our lives. So, it surprises me that so few people tend to work on the basis of putting importance on those stories, the stories that happened inside the mind, [rather than the] external world.
David Slade: I'm doing a television pilot for Barkskins, which is based on the Annie Proulx novel. And I swear to God, I'm going to make this film called Come Closer, which is based on the novel by Sara Gran. And there's lots of other things, but those are the two things that I want to mention.
This Way To The EGRESS is keeping busy this summer with shows locally and in other states, and also has a week of shows scheduled in the U.K. in August, where they will perform at the famous Boomtown Fair in Winchester, Hampshire, England, on Aug. 11. This fall they will tour in support of their new album, which is their fourth full-length studio recording, Galassi said.
The long wait will soon be over for many steampunk fans eager to congregate in the eastern U.S., as three events are scheduled for this weekend: The Key City Steampunk Festival in Central Pennsylvania, the Southern Maine Steampunk Fair at the Brick Store Museum, and MegaCon in Orlando.
Some of the best-known makers in the steampunk world will converge this summer in Frederick, Maryland, as the Key City Steampunk Festival rolls into town. It will likely be the largest paid-admission steampunk event on the East Coast.
The first thing I can tell you is that this new Coop Door Opener is different looking than the older version that I reviewed years ago. It's a little bit larger and in black. And, I was also able to get the optional 2-piece aluminum door. It is 11 inches wide x 13 inches high.
I can now keep the floor in the coop dry by keeping the big doors closed when it rains and this way I do not have to keep replacing all the wet shavings. So it is saving me money also. I think that this Brinsea ChickSafe coop door opener would work well on a smaller coop also. Or even a larger coop for that matter.
The egress of lymphocytes from the thymus and secondary lymphoid organs into circulatory fluids is essential for normal immune function. The discovery that a small-molecule inhibitor of lymphocyte exit, FTY720, is a ligand for sphingosine 1-phosphate (S1P) receptors led to studies demonstrating that S1P receptor type 1 (S1P1) is needed in T cells and B cells for their egress from lymphoid organs. S1P exists in higher concentrations in blood and lymph than in lymphoid organs, and this differential is also required for lymphocyte exit. Transcriptional and post-translational mechanisms regulate S1P1 and thus the egress of lymphocytes. In this review we discuss the body of evidence supporting a model in which lymphocyte egress is promoted by encounter with S1P at exit sites. We relate this model to work examining the effects of S1P receptor agonists on endothelium.
One of the major problems with a high capacity dualmode system is the problem ofegress. Access can be controlled. Vehicles are not allowed access before an empty slotappears on the line. When they want to leave a few minutes later at a desired exit, thesituation at that exit may be problematic. If the road network is not able to absorb thevehicle flow from an egress ramp, the system has a problem.
This new network can work between stations without any problems, but if thedualmode principle is to be used to its full potential, the road network will have to beincluded. This means that dualmode busses (maxi-ruf) must be run in a dial-a-bus mode inorder to bring passengers to the automated part of the system. It also means that dualmodecars (ruf) drives from door-to-door using the rail network for the long distance highspeed part of the trip. Both types of vehicles will have to be able to egress from themonorail network without problems.
One solution to the potential problem with street congestion at egress isobviously to allow for more exits. If the traffic flow is divided into several independentflows each going to an exit, it will be possible to prevent problems. The exits should beplaced as far from the junction as is economical while also considering allowable visualimpacts.
For this solution to be realistic it is very important that the switch is able tohandle more than 2 directions. A normal train switch is only able to be set in one of twopositions. Most system developers seem to adopt this philosophy. In the RUF system, theswitch has been created differently. The vehicles are guided through the switch at lowspeed (20 mph) using magnetic fields at different frequencies. The fields are present allthe time and the vehicle decides which frequency it will follow. It works like a radio.When a radio station is selected, the radio only listenes to its frequency even if all thefrequencies are present at the antenna all the time.
Another important factor which can be used to minimize egress problems is theplanning of the network. If the network is placed on top of an existing highway system andwith the exits near to the highway exits, the two systems together could create too muchtraffic to be absorbed by the road network. 2ff7e9595c
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