{"id":9670,"date":"2017-03-15T08:00:54","date_gmt":"2017-03-15T12:00:54","guid":{"rendered":"http:\/\/www.cemeterydance.com\/extras\/?p=9670"},"modified":"2017-03-15T12:17:53","modified_gmt":"2017-03-15T16:17:53","slug":"onscreen-mojo-interview-joe-r-lansdale","status":"publish","type":"post","link":"https:\/\/www.cemeterydance.com\/extras\/onscreen-mojo-interview-joe-r-lansdale\/","title":{"rendered":"Onscreen Mojo: An Interview with Joe R. Lansdale"},"content":{"rendered":"

\"\"<\/p>\n

\"\"
Joe R. Lansdale<\/figcaption><\/figure>\n

Many colorful descriptors have been affixed to describe the work of ten-time Bram Stoker Award-winning author Joe R. Lansdale, but reigning champion of mojo storytelling <\/em>(as coined by Lansdale\u2019s friend and webmaster Lou Bark) is the most fitting way to express his dynamic style. Throughout a prolific career, Lansdale has produced an astounding assortment of unique tales gracefully two-stepping between the pulp and the profound. His work is gritty, funny, and violent, characterized by biting dialogue and Lansdale\u2019s ability to seamlessly cross genres while remaining conscious of history and storytelling tradition. Lansdale\u2019s distinct literary voice regales his readers with tales of rough-and-tumble anti-heroes ready to throw down against dangerous criminals, serial killers, and occasional otherworldly monsters running amok in East Texas.<\/p>\n

Producer interest in his work began in the 1980s, but nothing manifested onscreen until Lansdale contributed teleplays to Warner Bros. Batman: The Animated Series<\/em> (1992 – 1996) for the episodes \u201cPerchance to Dream\u201d (1992); \u201cRead My Lips\u201d (1993); and \u201cShowdown\u201d (1995). Translations of Lansdale\u2019s original work began in earnest with Don Coscarelli\u2019s vision for the novella Bubba Ho-Tep<\/em> (2002), a critical and cult hit. Coscarelli (creator of the Phantasm<\/em> film series) followed up with \u201cIncident On and Off a Mountain Road\u201d (2005) for the short-lived Masters of Horror<\/em> anthology series (2005 – 2007). Terrell Lee Lankford dove headfirst into Christmas with the Dead<\/em> (2012), shooting the post-apocalyptic zombie film in sweltering conditions. Indie stalwart Jim Mickle (Stake Land<\/em>, We Are What We Are<\/em>) helmed Cold in July<\/em> (2014) from Lansdale\u2019s revered crime thriller, and recently tackled the eponymous Hap and Leonard<\/em> for Sundance TV, featuring James Purefoy and Michael K. Williams as the East Texan firebrand private investigators and best friends.<\/p>\n

Mr. Lansdale spoke with Cemetery Dance Online about the experience witnessing his literary work translated to screen, crafting relatable stories with thematic heft, and hints at the possibility of sitting in the director\u2019s chair himself.<\/p>\n

(Interview Conducted by Chris Hallock<\/a>)<\/p>\n

CEMETERY DANCE ONLINE: You had opportunities to work with producers on projects that didn\u2019t necessarily pan out, and Cold in July<\/em><\/a> bounced around for a while before Jim Mickle and Nick Damici tackled it in 2014.
\n<\/strong>
\n\"\"JOE LANSDALE: I’d worked with some directors and we just didn’t get it made. Sometimes I’ve worked with them peripherally, and sometimes more directly. Cold in July<\/em> was optioned by John Irvin, who did Dogs of War<\/em> and Ghost Story<\/em>. John Irvin was a great director, I really liked John, but we could just never get it off the ground. They just kept wanting to change it to something we never meant for it to be. Cold in July<\/em> was always difficult to film. Jim and Nick had a terrible time getting it set up, too, because people didn’t know what it was. That’s a problem with a lot of my work—producers always liked the cinematic aspects, but they feel driven at some point to define it, to put it in a box. They just kept on until it finally got made. I also dealt with other directors—I sold a screenplay to Ridley Scott’s company and his son Jake was going to do it for a while, then it never happened. David Lynch was attached to The Big Blow<\/em> for a while. The interest has always been there, it’s just been slow in happening.<\/p>\n

How are you emotionally when negotiating with producers? Do you get your hopes up, or do you get nervous about your work being misrepresented?
\n<\/strong>
\nNo, I don’t. I mean, you have to have your hopes up enough to even go into it, but it doesn’t shatter me. I mean, I’m disappointed, but it doesn’t have any weight on my life, on my continuing projects, because I never put all my eggs in one basket. I just don’t work that way. I always think of that Twain quote, \u201cIf you put all your eggs in one basket, watch that basket.\u201d<\/p>\n

It helps to have creators like Mickle and Coscarelli who get you, right?<\/strong><\/p>\n

Yeah, well, they get it. Some of the others don’t really get it, or they get pieces of it. The thing about people in film—and this is understandable—what they’re doing is a job where they’re already worried about their next job as soon as they start. So, they live in constant fear of messing something up or not being able to put their imprint on it so that they can get another job. The best adaptation , if you think of works of good art, is one that comes as close as possible. You don’t always get that. Occasionally you’ll get something that varies, that\u2019s even better than the original, but it doesn’t happen very often.<\/p>\n

Does it bother you when producers make significant changes to the story and characters to accommodate time or budgetary restrictions? In Cold in July<\/em>, there\u2019s a change that doesn’t necessarily account for those limits: in the book, the intruder shoots at Dane first, but not in the film. Is it difficult to reconcile such a fundamental difference?<\/strong><\/p>\n

\"\"I actually thought that was a very good change, especially cinematically. When he shoots the guy and it turns out he doesn’t have a gun, it makes the guilt even heavier. In the book it works either way because you have plenty of time to explore the inner feelings of the character. In the film, that’s a way of establishing a lot of that instantly. That was one change I really liked. Bubba Ho-Tep<\/em><\/a> didn’t require much changing because it was a long story. Once Don adapted it, it’s almost verbatim, the story. There are a few additions, little character parts at the first, but most of the dialogue, most of the scenes, most everything is right out of the story. In fact, when I re-read it some years ago, I was shocked at how similar it was. Same way with \u201cIncident On and Off a Mountain Road,\u201d although it was a little short and they did have to add some things, it was so close to the story it was amazing. With Christmas with the Dead<\/em><\/a>, my son wrote that script, he actually did change it up quite a bit. That’s because it was such a short story you’d have had about a twenty minute film.<\/p>\n

Writing is such a solitary thing, did you appreciate being able to experience that with an audience around you?<\/strong><\/p>\n

It\u2019s fun, but you know, nothing takes the place of writing. People say it\u2019s a lonely thing, but I never feel alone at all. I mean, I feel alone, but not lonely. So, I enjoy writing a lot. I\u2019ve worked on screenplays, too, but I think on some level that it\u2019s not an art—it\u2019s a craft. You\u2019re writing something, and as soon as you write it, even if you\u2019re artistic in your moment, as soon as you finish and hand it to somebody to interpret, it\u2019s already got other eyes, other ideas and visions involved. Once the actors come into it, they all have their own take on the material—they have their own sound and their own look, their own body movements which change it to some degree. The director has their own ideas about it, even the stage direction, the cinematography, that combination of things. I don\u2019t believe in the auteur theory at all. I believe the director\u2019s the general and I believe the writer\u2019s the engine. Everything after that is just different philosophies and interpretations.<\/p>\n

It looks like Hap and Leonard<\/em><\/a> is a big hit for Sundance.<\/strong><\/p>\n

It was their number one show.<\/p>\n

Do they shoot that in Louisiana?<\/strong><\/p>\n

They did the first season in Baton Rouge, but I think some of the tax credits changed. They ended up shooting the second season in Atlanta, Georgia.<\/p>\n

\"\"Do you think the environment they created is suited to the atmosphere of the stories?<\/strong><\/p>\n

I really do. I haven’t seen the second season, I wasn’t on the set for it. My daughter was in it, she’s in the fifth episode. She’s playing a singer. She does a couple of songs, an old Carter Family song and one of hers, a song she wrote when she was seventeen or eighteen.<\/p>\n

I was hoping you and your family would make an appearance in there in some way.<\/strong><\/p>\n

Well, Kasey and I both were in the first season, but we’re in the background in the cafe. Unless you’re looking, you won’t see it. But, she’s in it this season. They gave her a Dolly Parton look, it’s really kind of clever. Watch for her in the fifth episode in the carnival.<\/p>\n

I’m curious who’s going to play Jim Bob Luke who was portrayed by Don Johnson in Cold in July.<\/em><\/strong><\/p>\n

Well, right now there are some contractual problems about that because he was in Cold in July<\/em>, but that doesn’t mean they can’t be solved. I think they can, in fact. I think Don would be very interested in playing that character again, but I don’t know how that’s going to play out.<\/p>\n

Fantasy fiction is typically looked at as a means of escapism, but you don\u2019t let your readers off the hook so easily. How important is it to you to confront them with relatable challenges like aging, racism, marital strife, and financial struggle, as found in both print and filmed versions of Bubba Ho-Tep<\/em>, Cold in July<\/em>, and Hap and Leonard<\/em>?<\/strong><\/p>\n

It\u2019s very important to me. I\u2019ve written some things that I think are just fun and they\u2019re nothing more than that, but I think that things that are difficult are fun, too, in a different way. I don\u2019t think my stuff is difficult to read, but I mean difficult subject matter for some people. For me, I think probably growing up in the sixties and early seventies—I reached my early manhood in the seventies. I was eighteen when I graduated in 1970. All through that era, that was a time of change. It was a time of civil rights, the Vietnam War—people for it, people who ditched it, anti-sexism and women\u2019s liberation, gay rights were beginning to have a stronger formation then. A lot of those different things, they were so much a part of the fabric of who I was that I always wanted to write about them.<\/p>\n

You accomplish that without anything feeling heavy-handed. If you take a look at Bubba Ho-Tep<\/em>, one might look at it as being one of your lighter stories, but it’s really not; it\u2019s one of the most devastating.<\/strong><\/p>\n

I don’t consider it light at all; it\u2019s funny, but it’s not light. It’s sort of like The Drive-In<\/em>. The Drive-In<\/em> has got a lot of humor to it, but it’s not light at all. It’s about something totally different. It’s about trying to find purpose in life and about meaning and the best laid plans of mice and men. There’s a lot of stuff in there that I felt I was trying to say and I was trying to use drive-in characters that were more caricatures than they were common characters. I have this belief that there are some books and stories where the main character is the book itself. Examples of that were some of Ray Bradbury’s stories which I don’t think the characters are particularly real, but the overall flow and the dynamics and the political aspects when all put together—the story itself becomes the character. Or some of (Kurt) Vonnegut’s work, in which he very seldom deals in real characters or feelings of bright characterization, especially his later works. The overall book itself, the tonality of it, becomes a character. The themes and the elements and the little things he brings into it as he writes are all part of that fabric. I tried to do that with The Drive-In<\/em>. Most of the time I prefer a more realistic approach to character, but in that I was trying to make this broader statement to pull the reader in before they knew they were there.<\/p>\n

How do you balance the realistic consequences versus an over-the-top character like Jim Bob Luke, or Bruce Campbell as Elvis? How do you keep these exaggerated characters from outgrowing the gravity of the stories?<\/strong><\/p>\n

The influences for those kinds of characters go way back to Walt Disney\u2019s Davy Crockett,<\/em> where they had Fess Parker play Davy Crockett. Davy Crockett was a real guy, but he was also bigger than life. Like Daniel Boone, \u201cWild\u201d Bill Hickok, Buffalo Bill, they\u2019re all real people. Even my dad in some ways was bigger than life. What I always try to do to make sure it doesn\u2019t go too far is never forget the humanity of that person, the strengths and weaknesses that they have, their common strengths and weaknesses as human beings. As long as you keep that core, you can run out there pretty far before pulling it back in.<\/p>\n

Had you been writing comics for DC at the time you were approached to write for Batman: The Animated Series<\/em>? How did you get involved in the beginning?<\/strong><\/p>\n

\"\"What got me onto it was not writing comics, but I was writing some short stories that were based on Batman. So, they asked me to do a short story for a thing called The Further Adventures of Batman<\/em> and I wrote a thing called \u201cSubway Jack.\u201d Then I was supposed to do another one, I think it was called \u201cThe Adventures of the Joker;\u201d it was a book where the Joker was the main character, and of course Batman was in it as well. I did those two and I think somewhere along there I might have done the Batman novel I did Captured by the Engines<\/em>. I believe that’s what got the interest. A friend of mine, Bob Wayne, who I’d known in Dallas, went to work up there, he just retired there recently, and I think he threw my name in the pot along with the fact that I’d actually done some Batman stuff so they could look at it and see I knew the character. That changed everything, and I think it was Michael Reeves who called me and said, \u201cAre you interested in doing this?\u201d and I said, \u201cYeah.\u201d They had ideas and storylines that they put together and they would pick a writer they thought might fit. They sent me one of them and allowed me to do dialogue and trail off where I wanted to go. It was one of the better experiences in my career dealing with cinema.<\/p>\n

How much experience have you gathered behind the camera being on set for these projects?<\/strong><\/p>\n

Quite a bit, actually. Not as much as the people assigned those jobs, but a lot of osmosis, as I like to joke. You absorb a lot of it just from observation and from being around it. I helped produce Christmas with the Dead<\/em>, and Karen and I could afford to do a large part of that. We didn\u2019t do it all, but we did over half of it. Now we\u2019re talking about bigger money so I have to go out and do what everybody else does. When you\u2019re working, you have to dedicate yourself to what you\u2019re doing so you don\u2019t do it halfway. You also have to have a way of compartmentalizing to go over and work on something else.<\/p>\n

So that only galvanized your interest and didn’t scare you away?<\/strong><\/p>\n

No, I loved being on those sets. I enjoyed it. Some are more pleasant than others, some are more interesting than others, but it didn\u2019t scare me at all. I\u2019ve been around a lot of directors in my lifetime, over thirty years being around directors. I\u2019ve certainly been involved in it peripherally. I\u2019ve read a lot of different things about it. So, I\u2019m not scared of it at all.<\/p>\n

You mentioned you\u2019re considering directing something yourself.<\/strong><\/p>\n

If things go well, I\u2019ll be directing my first one next year; it\u2019s called The Projectionist<\/em> and it\u2019s based on a short story of mine in the anthology by Lawrence Block called In Sunlight or in Shadow<\/em>. It was never my driving force in life to be a director and it still isn\u2019t; I want to be a writer. Sometimes you look at it and think, \u201cThis is a way to project your work to people who might not ever see it.\u201d Writers like to think that everybody\u2019s reading their work, but I don\u2019t feel that way because I know they\u2019re not— you\u2019re not universally admired. What happens though is the more darts you have heading in different directions, the more possibility of hitting targets. If you did something based on one of your books or a TV series based on a series of books, that draws attention to them and gets readers you might not have otherwise. That\u2019s part of why I\u2019m doing it, along with the love I have for film. It\u2019s fun to work with my son, and my daughter and I are working on some stories, so it\u2019s a way of continuing to work with my family.<\/p>\n

What are some other projects on the horizon?<\/strong><\/p>\n

Not counting the TV series, there\u2019s the Hap and Leonard novel Rusty Puppy <\/em><\/a>(out in February). Blood and Lemonade<\/a>,<\/em> which is a collection of early stories about Hap and Leonard when they were teenagers, mostly Hap but some with Leonard, is coming out (in February). I\u2019ve also got a new collection, Dead on the Bones<\/a>,<\/em> which is a tribute to the old pulps and those kind of TV shows I was mentioning. There\u2019s Coco Butternut<\/a>,<\/em> which is a Hap and Leonard novella from Subterranean. There\u2019s another Hap and Leonard short story called \u201cHoodoo Harry\u201d<\/a> from Otto Penzler, in a little chapbook that they do and\u00a0 also a hardback version of it. I\u2019m writing another Hap and Leonard novel right now Jackrabbit Smile<\/em>, and I\u2019m writing an e-book that I promised. After that, I\u2019ll probably put Hap and Leonard on the shelf while I do other things.<\/p>\n

Chris Hallock is a screenwriter and film programmer in Boston. He has contributed to <\/strong><\/em>VideoScope Magazine<\/strong>, <\/strong><\/em>The Boston Globe<\/strong>, <\/strong><\/em>Diabolique Magazine<\/strong>, and <\/strong><\/em>Paracinema<\/strong> among others. He serves on the programming teams for the Boston Underground Film Festival and the Massachusetts Independent Film Festival. He is currently writing a book entitled <\/strong><\/em>Just a Whisper: Intimate Moments of Terror in the Horror Film<\/strong> for Midnight Marquee Press. His other passions are cats, drumming, and fiercely independent art.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Many colorful descriptors have been affixed to describe the work of ten-time Bram Stoker Award-winning author Joe R. Lansdale, but reigning champion of mojo storytelling (as coined by Lansdale\u2019s friend and webmaster Lou Bark) is the most fitting way to express his dynamic style. Throughout a prolific career, Lansdale has produced an astounding assortment of … Continue Reading! “Onscreen Mojo: An Interview with Joe R. Lansdale”<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[7],"tags":[1107,1108,307,610],"class_list":["post-9670","post","type-post","status-publish","format-standard","hentry","category-interviews","tag-chris-hallock","tag-hap-and-leonard","tag-interviews","tag-joe-r-lansdale"],"yoast_head":"\nOnscreen Mojo: An Interview with Joe R. 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