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Gregory Lamberson

Mayor Byron W Brown 4

The second edition of Buffalo Dreams fantastic FIlm Festival - following three years of Buffao Screams Horror Film Festivals - ran from Friday, Nov. 7th - Thursday, Nov. 13th at the Eastern Hills Cinema in the Eastern Hills Mall in Williamsville.  Thechange in venue was a last minute switch at the request of Dipson Theatres, but didn't seem to have a negative effect on atendance.  In fac, this was our most successful festival yet, even with my partner Chris Scioli and I each checking into the ER in the days leading upto the event, and Chris missing the last day for necessary surgery.  After five years of grueling work, this seemed to be our turnaround year.


Our premiere of the locally produced film THE ROMANS was a key part of that success, and not just because it sold out and required us to schedule a second festival at the end of the week.  Many loals consider Buffalo Dreams a rebranded Buffalo Screams; it's not.  It's an entirely new venture, with a different partnership.  Buffalo Screams is dead, long live Buffalo Dreams.  Because of this misperception, a lot of people assume we're "just a horror festival."   We're not.  THE ROMANS is a crime drama, and we also screened a spaghetti western, 6 BULETS TO HELL, a drama, SCOPE OF PRACTICE, a romantic comedy, FRIENDS DON'T LET FRIENDS DATE FRIENDS, a comed drama, B.O.Y.D., a revenge thriller, JULIA, the science fiction flavored CHANNELING.  The highpoint was a screening of the Mexican SF thriller EL INCIDENTE from filmmaker Isaac Ezban.  ARMY OF FRANKENSTEINS was a fantasy/adventure.  We still showed some great horror films, and wll cotinue to do so: THE DROWNSMAN, ATHENA and THE SHOWER are prime examples.

Isaac awards

Our expanded program led to an unprecedented amount of coverage in our local daily newspaper, As always, we supported local films and local filmmakers, and this year we saw a bit of a sea change in that front as well: some of the local filmmakers actually turned out to watch eaxch others' films, and those of our visiting filmmakers.  Culturally speaking, this was important to us.  Our visiting filmmakers always provide the spine of the festival, bringing real spirit and deotion to the proceedings, and it was great to see some of the local filmmakers beyond or die hard suppoters taking advantage of the chance to iteract with filmmakers who are clearly on the move.  Attendance for the local films was solid, especially for Ken Cosentino's zombie feature WITHIN.  We value the importance of filmmaker Q&As and are grateful to every filmmaker who attended the fest, be it from out of town or right down to the road.  And jusdging by the response we received from filmmakers who have been traveling around the country (and the world), we're doing something right.  Our submissions for this year nearly doubled from last year, and the number of original screenplays we received quadrupled.

paige talk

Every year, we face a new challenge atour awards presentation.  This time, it was discovering way too late that the front of the theater was so dark our presenters needed phones/flashlight to read the names of nominees and winners!  We presented special awards to City of Buffalo Mayor Byron W. Brown (Local Service), J. Garrett Vorreuter (Local Hero), Isaac Ezban (George Pal Visionary Award), Aceifer Genovese (Indie Genre Spirit Award), and Lynne Hansen and Hope Muehlbauer (Filmmakers to Watch). Mayor Brown also attended the premiere of THE ROMANS, and asked questions at he Q&A.

john hjulian

Special thanks to Buffalo-Niagara Film Commissioner Tim Clark, Bufalo-Niagara Film Office Director of Operations Rich Wall, John Discillo of WBBZ/Off Beat Cinema, Paige Davis from Alternative Cinema, Kim Piazza, Dave and Buster's, Mike Clement and Bryan Spokane at Dispon Theatres, the staff of the Eastern Hills Cinema, and all our volunteers for pulling together to make this all work on a tight budget.   We now have a solid foundation to make next year's festival even better!  Submissions for 2015 will open soon, and we encourage filmmakers to take advantage of our Early Bird Deadline.

jon cesar

Some choice comments I heard:

"Jon Cesar may have given the best performance I've ever seen from a Buffalo actor" (for THE ROMANS)

"(ELIZABETH BATHORY) was the first local horror film I've seen that could go on to be something somewhere else."

"THE DROWNSMAN was one of the best horror films you've ever shown."


"I'm really impressed by the programming."

"CHANNELING made my Ten Best list."

drew thomas 1

Gregory Lamberson
Buffalo Dreams Fantastic Film Festival, which runs this Friday, November 7th - Thursday, November 13th at the Eastern Hills Cinema, 4545 Transit Road in Williamsville, will recognize City of Buffalo Mayor Byron W. Brown and J. Garrett Vorreuter, Director of Operations at Pierce arrow Film Arts Center and owner of the Film Collective, for their efforts on behalf of the film industry in the area. Mayor Brown will receive the festival's Local Service Award, previously awarded to Buffalo-Niagara Film Commissioner Tim Clark and Buffalo-Niagara Film Office Director of Operations Rich Wall, and Vorreuter will receive the Local Hero Award. The Dreamer Awards will be held in the theater beginning at 6:15 pm on Sunday, November 9th. Awards will be given to films competing in local, national and international categories.

"Our festival supports the current growth of film production in the region," says Gregory Lamberson, who co-directs Buffalo Dreams with Chris Scioli. "Mayor Brown voted in favor of the film production tax incentive as a state senator, and as mayor has worked with Tim Clark and Rich Wall to help facilitate film productions in the area. Garrett came to Buffalo to study medicine but became inspired by the possibility of a real film industry here, and has dedicated himself to helping develop that industry."

Buffalo Dreams Fantastic Film Festival has a two-fold mission: to bring the finest independent films from around the world to Buffalo, and to spotlight the work of local filmmakers. This year's event kicks off with the Buffalo premiere of The Romans, a contemporary urban take on the story of Julius Caesar, directed by Korey Green and executive produced by Larry Quinn, shot entirely in Buffalo.  

In total, 70 films will screen over the course of the week, 19 of them features, including the spaghetti western 6 Bullets to Hell, starring and co-directed by Tanner Beard, and El Incidente/The Incident, a thriller from Mexico, written and directed by Isaac Ezban. Beard and Ezban will be among fifteen filmmakers traveling to Buffalo to screen their work for the festival. For a complete schedule, visit For advance tickets, visit

Gregory Lamberson
I've lived in Buffalo for 11.5 years. When I got here, there was no film industry.  Commercials, maybe, and the occasional indie feature like POULTRYGEIST, but that was it.   That started to change with the popularity of pro-sumer HD equipment.  A lot of local filmmakers started making features here - Red Scream Films, Peter McGennis, DefTone, myself with SLIME CITY MASSACRE - a lot of people doing their own thing.  That's changed: now there are dozens of local filmmakers making micro-budget indie features and many more making shorts, and local and semi-local filmmakers have made bigger films here, like The Romans and The American Side.  We've seen an influx of progressively larger out of town shoots come here: Model Hunger, Return to Nuke 'Em High: Volume 1 & 2, BATTLEDOGS, a $1 million feature wrapping here now called ANNA/VERY BAD SITTER - with more on the horizon.

We have a small Film Commission here - a two-man operation (that used to be a one- man operation).  I've worked closely with them on some projects, and I've done other projects that didn't require their support, but I've always supported them and their efforts to bring productions here, while some in our little community have been critical (usually because they don't understand what film commissions do - it's not their job to raise money, or to help provide locations for films with no insurance).

During the last five years, there's been a lively debate over how we can build a real film industry here.  I remember a long, passionate thread that followed a Buffalo Rising article a few years ago, which was ultimately highjacked by a guy more interested in raising money for his film than in seeing our burgeoning industry grow; ironically, most of us who went at it on that thread are now friends/colleagues - because we had the same goal in mind. And the goal post in sight.

Last year, we got the news that beginning in 2015, Western New York is getting a 5% bump in the New York State Film Tax Credit: any production shooting here that takes the time to meet the state's requirements, and does its post here, will receive 40% of its qualified costs (excluding above the line fees like writers, producers, director and stars) back from the state - 5% more than productions would see in NYC.  It's an incentive to bring films and film jobs here, not "corporate welfare."  NYC already does well with productions, and WNY needs all the help it can get.  Who's responsible for this bump for WNY?  A lot of the credit goes to Buffalo-Niagara Film Commissioner Tim Clark, Rochester Film & Video Office Executive Director Nora Brown, and Buffalo Film Office Director of Operations Rich Wall, who worked tirelessly to push this through.  And it's working: ANNA is here because of the Film Tax Credit, more films in the $1 mil - $2 mil range will come here, out of town filmmakers contact me frequently to discuss the film tax credit, locations and crew.  At a time when Buffalo is turning around, we're actually seeing something many of us thought would take another decade: a vital film production industry that will enable many of us to make a living in our chosen fields.

Chris Scioli and I wouldn't be hosting an annual Buffalo Film Expo if we didn't see what's coming our way.  Production has often left the US for Canada for incentives, and now its fleeing LA for cities and states in the US that have aggressive tax incentives.  At Buffalo Dreams Fantastic Film Festival this year, we're showing _six_ features made by local filmmakers.

Now Republican gubernatorial candidate Rob Astorino wants to phase out business incentives in NYS to lower the personal income tax rate - including the Film Tax Credit.  It's pandering to the public, because so many people have adopted an anti-taxes stance as their religion, rather than using their common sense to arrive at a sound judgment.  Getting rid of this credit, or sharply reducing it, will stop Buffalo's film industry dead in its tracks; it will also seriously harm - possibly destroy - the film industry in NYC.  Without that, the entire state will suffer, and anyone here who hopes to make a living in film will have to go elsewhere.  This isn't a Democrat vs. Republican issue (Republicans are supposed to be pro-business, remember?).  I have have friends who are passionate about fracking, abortion, guns - I'm not addressing any of those issues.  But I am saying this: Rob Astorino is the enemy of film production in NYS, and a vote for Green Party candidate Howie Hawkins is a defacto vote for Astorino.  If you want to see a film industry in Buffalo, and if you want to see the billion dollar film industry in NYC - which benefits the entire state - continue, Andrew Cuomo is the only choice.  Vote Cuomo.

Here's one newspaper article with Astorino's anti-Film Tax Credit in b&w.

 If you're not a knee-jerk partisan reactionary, and you want to preserve this tax credit, please share my long winded post with your NYS friends.  If you can't help yourself, and just have to turn red and blast steam out of your ears and pound away at your keyboard slamming Cuomo, go right ahead, just don't expect me to debate you; I have my eye on the prize.
Gregory Lamberson
22 October 2014 @ 12:45 am



Buffalo, New York - Buffalo Film Expo (BFX), a one day educational event comprised of workshops aimed at professional and aspiring filmmakers, will be held Saturday, Nov. 1st from 10 am to 5:30 pm at the Holiday Inn Buffalo Airport, 4600 Genesee Street in Cheektowaga. Area film professionals serve as panelists covering screenwriting, producing, the NYS Film Tax Credit, cinematography, the business side of acting and gear. Admission is $10 for adults and $5 for students with ID.  

"The film industry in the Buffalo-Niagara region is growing," says Gregory Lamberson, who organized the event with Chris Scioli. "This conference is aimed at people who want to learn more about the film making process, and people who want to participate in this growing industry in our region. Writers, producers, camera people and actors can all benefit from the information shared here. This is also a great networking opportunity: we encourage people to bring their business cards and head shots."

BFX is sponsored by Buffalo Dreams Fantastic Film Festival, which runs Fri, Nov. 7th - Thurs, Nov. 13th at Eastern Hills Cinema; Buffalo Movie-Video Makers, the oldest amateur film society in the nation; and Adam Bloch Sound. Attendees will receive one free pass to see 6 Bullets to Hell, a new spaghetti western playing at Buffalo Dreams Fri, Nov. 7th at 9:45 pm.

The Pierce-Arrow Film Arts Center, 48 Hr. Film Festival, and regional production companies Pixelmander, LLC, White Lion Studios, Metroisha Productions and Martin McGee Productions will all have a presence in the banquet room. All speakers are subject to availability.


10:30 am         Screenwriting: Greg Stuhr (The American Side), Korey Green (The Romans), Greg Lamberson (Dry Bones).

11:40 am         Producing Your First Feature: Bobby Gott (B.O.Y.D.), Elizabeth Nixon (Elizabeth Bathory) Brandyn T. Williams (Dwelling) and John Renna (Dick Johnson & Tommygun vs. the Cannibal Cop).

12:50 pm         The NYS Film Tax Credit: Buffalo Niagara Film Commissioner Tim Clark, Rochester/Finger Lakes Film & Video Office Executive Director Nora Brown, Buffalo Film Office Director of Operations Rich Wall.

2:10 pm           Cinematography: Chris Santucci, Stephen Powell, Matthew Nardone and Tom Wills.

3:20 pm           The Business Side of Acting (Casting/Presentation): Greg Stuhr, Bryan Patrick Stoyle, J. Garrett Vorreuter.

4:30 pm           Gear Talk: Chris Santucci, Tom Wills.       

Buffalo Dreams website:

Buffalo Film Expo on Facebook:

Gregory Lamberson
Over the course of the last week, I achieved something I never imagined: three different projects of mine became available.  I've had two projects released the same month before, but never three.

First, GAVE UP THE GHOST, the short film I produced and directed based on a short storyby Jeff Strand (who also scripted) was released as one segment of CREEPERS, a horror antholgy, on a Limited Edition Blu-ray.  The short was a lot of fun to do, because I've wanted to collaborate with Jeff in a manner that would not tear our friendship to shreds (I could never co-write with anyone).  It also allowed me to work with some of my closest friends in Buffalo, and some new (and importan) collaborators.  It also allowed me to flex my comedy muscles - not my black comedy muscles, or my campy comedy muscles - as a nice warm up for KILLER RACK.
There are three other shorts based on horror stories in the anthology, including Joe Lansdale's BY THE HAIR OF THE HEAD, which was adapted by Mike T. Lyddon, who executive produced the entire anthology.  I'm proud of our little comedy, and you can read all about the anthology here:

But that was last week.  This week I had two projects released on the same day.

FIrst up is my novel THE FRENZY WOLVES, the final book in my werewolf trilogy The Frenzy Cycle.  I never intended to write a trilogy about werewolves; The Jake Helman Files is my chosen series.  THE FRENZY WAY was based on a screenplay I wrote long ago, and when I finished the novel, it was clear to me there was still material to explore, so I decided towrite one sequel.  And halfway through THE FRENZY WAR, it became clear that I needed a third book to wrap up character/plot threads I developed in the sequel.  I wrote THE FRENZY WOLVES specifically to be a wrapup, and it's an emotionally satisfying resolution for me.  Each of the hree novels has a different focus, but together they form one complete story.  There is no need to write another one, but I left the door open for a radical continuation should the opportunity present itself.  The reviews from Publishers Weekly, Fangoria and The Horror Fiction Review were fantastic, so I'm glad I got the chance to push the concepts in the first novel even farther.  You can order THE FRENZY WOLVES right here:

Also released Tuesday was DRY BONES, the low budget feature I wrote and co-directed with Michael O'Hear, who stars alongside Debbie Rochon and many of my Buffalo friends; it makes a great double feature with GAVE UP THE GHOST, in fact -you can see many of the same actors (and my hose) in different roles.  Three months ago, with this release gearing up, it felt like so little time had passed since we shot it.  Now - after shooting KILLER RACK - it seems like an eternity.  DRY BONES is a horor comedy, with the accent on comedy.  I wanted it to have an uncomfortable sense of humor, so people wondered if they should laugh or be scared.  Despite the low budget, I feel we succeeded; it has a truly quirky tone and plays with audience expectations.  There haven't been many reviews yet, but the ones that have appeared have been largely positive.  The film is available for rent at Family Video locations nationwide, which is in itself a major victory in today's amrketplace.  You can purchase DRY BONES right here:

Creating and co-creating these projects - along with producing THE LEGEND OF SIX FINGERS, finishing THE JULIAN YEAR, and writing the upcoming final Jake Helman novel, not to mention multiple drafts of the CARNAGE ROAD screenplay and producing and directing KILLER RACK - has not come without a price.  I'm in the middle of organizing (with Chris Scioli) Buffalo Dreams Fantastic Film Festival, and I feel every one of my 50 years - older, in fact.  I'm exhausted, and I'm ready for a couple of months relaxation and family time.

This Friday, I screen GAVE UP THE GHOST at the Eerie Horror Film Festival (and Jeff screens iton Sunday at the Halloween Horror Picture Show in Tampa).  Saturday I'll be signing copies of THE FRENZY WOLVES and DRY BONES inthe dealers room.  Next Wednesday we travel to NYC, where I'll be a guest in ROy Frumkes's class on horror films at SVA, and Saturday I'll be at Chiller Theater Expo in New Jersey.  When I come home, I moderate Buffalo Film Expo on Saturday,Nov. 1st, and travel to Toronto the next day for Horror[Rama, sponsored by Fangoria and Suspect Video.  Then I have Bufalo Dreams from Fri No. 7th - Thursday Nov. 13th.

Living the life!
Gregory Lamberson
09 October 2014 @ 10:38 am
BFX Final



Buffalo Dreams Fantastic Film Festival, which runs Friday November 7th - Thursday November 13th at the Eastern Hills Cinema, presents the second Buffalo Film Expo, a stand alone event, on Saturday, November 1st from 10 am to 5 pm at the Holiday Inn Buffalo Airport, 4600 Genesee Street in Cheektowaga. Admission is $10 for the day.

Buffalo Film Expo (BFX) is an educational event dedicated to promoting film production in the area and fostering professional practices among local movie makers. Workshops include Screenwriting, Producing Your First Feature, the NYS Film Production Tax Credit, Cinematiography, the Business of Acting, and Documentary Filmmaking. Buffalo Niagara Film Commissioner Tim Clark, Buffalo Film Office Director of Operations Rich Wall, and Nora Brown, Executive Director of the Rochester/Finger Lakes Film & Video Office are scheduled to participate.  

"For a few years now, filmmakers in Western New York have heatedly discussed how to build a viable film industry in this area," says Gregory Lamberson, who runs the event with Chris Scioli. "Thanks largely to the efforts of Tim, Rich and Nora, an aggressive state tax credit for film production begins in 2015, and we're already seeing productions come to town because of it; we're on the cusp of something real happening here, and BFX is as much about preparing area film production personnel for what's coming our way as it is about teaching the fundamentals of screenwriting and cinematography to people interested in those areas, and the business aspects of acting to our talented community of performers. Anyone serious about producing a film here will benefit from learning how the state can help. We've kept the price affordable for students as well."

Panelists will be announced closer to the event date. An additional workshop on Independent Film Distribution will be held one week later as part of Buffalo Dreams. Inexpensive sponsorships and tables for BFX are available; interested parties should contact Lamberson or Scioli through the Buffalo Dreams website or BFX Facebook page.

Visit Buffalo Film Expo on the Buffalo Dreams website:

Buffalo Film Expo on Facebook:

Gregory Lamberson
06 October 2014 @ 07:00 pm
We are edging into post productin on KILLER RACK, and I'm finally seeing some footage for the first time.  I've probably seen two thirds of the total footage at this point, and our editor, Phil Gallo, is cutting the portion we've sent him (including a six page scene we covered with like 60 shots...).  One of the bits I only just saw last week was some second unit footage filmed while I was in Toronto back in August, unscripted business that I felt would ramp up the suspense/excitement over seeing Betty's new boobs for the first time (and an evocaton of Kelly Forbes's fantastic poster).  Rod Durick staged and shot the scene, accomplished in one shot.  The choreography and extras were fantastic, but I wanted something a little different visually... I wanted something shot on the Ronin camera stabilizer, which we didn't start usng until later in the shoot.  I'm officially spoiled by the Ronin.

On very short notice, we booked the Ronin and tried to wrangle the same extras, since they did such a swell job, and one week after wrapping, Rod, Paul McGinnisreconvened at the Pierce Arrow Film Arts Center.   We got most, but not all of them back.  All we needed was good weather.  We've been very lucky with the weather on this shoot.  The forecast called for rain, and it rained.  The forecast called for a break in the rain, and it rained harder.  We waited around for it to stop raining, and it hailed.  With $200 in expenditures for the day, I was determined to get the scene,.  I prodded Rod, the great problem solver, to think of another location, one that was outdoors, with an awning.  He came up with theperfect solution: the Exchange Street Amtrack station in downtown Buffalo - almost as desolate as the Central Terminal Station, even though trains actually stop there.

We did a company move, even though we hadn't shot anything at Pierce Arrow, and elected to shoot right on the platform.  This is what's known as guerrill shooting: no permission, no permits, no insurance.  I haven't done a guerrilla shoot (on one of my own films) since 1998, when I didre-shoots for NAKED FEAR (shot three years earlier).  Fortunately, it was Football Sunday and we didn't see any police...anywhere.  More extras showed, and then two more after that.  Other faces appeared on theplatform, and we shooed them away.  I felt bad for a teenage couple ("Runaways," Jessica Zwolak said judgementally) - whatever Paul McGinnis said to them, they not only cleared the platform, they left the property altogether and were last seen heading toward Washington Street.

Rod re-staged his action, but lost his voice by the time he needed to say "Action," so I had Paul follow him and call out the cues for the different extras.  I have not seen the footage, and by the time I do it will be too late to re-shoot again, but what I saw on the LCD screen looked spectacular - so smooth - and the extras were fantastic again.  Jess didn't have a whole lot to do, but she walked well.  And that was a wrap on our first day of re-shoots.  One more day of re-shooting and one day of special effects pickups to go.
Gregory Lamberson
28 September 2014 @ 08:07 pm
Day Nineteen of KILLER RACK was the final day of principal photography (although one of those days was seciond unit).  I'd originally scheduled eighteen days, but that wasn't quite enough for a shoot this size.  Our agenda included three locations, which meant two company moves, not exactly an easy day despite the low page count,  First, we returned to Paul McGinnis's house to re-shoot a special effect I wasn't happy with, and a shot that "crossed the line," meaning that in one exchange two characters appeared to be looking in the same direction instead of each other (my mistake).  Since we were going to be there anyway, I added a cutaway of Nick Lama.  Nick plays one of our "three bumbling cops," and had been unable to participate when we shot the bulk of the scene we were now completing.  By adding the cutaway, his character is in the scene, and we got an extra joke I came up, one of those little touches that can improve a sce visually.

I met Paul an hour ahead of call time so we could arrange the furniture and set up, and our director of photography, Chris Rados, was the first to arrive.  Rod Durick, our co-producer, was unable to be on set because he had a wedding to attend.  Corin Defabbio joined us again to help with lighting.  We shot Nick out first and called a picture wrap on him.  Then we re-shot the effect, in which 1st AD Sam Qualiana, playing Betty's boyfriend Dutch, loses a hand to the boobs.  The first take looked better than what we shot a month and a half ago, but I called for two more takes, each one better than the last.  The blood was nice and red, and Sam walked around looking crimson the rest of the day.  We re-shot Jessica Zwolak's reaction to this event, and it was like traveling back in time to see her wearing one of her earliest costumes again.  I added another shot of her which I felt set up the next scene in the film better.  I'm always adding things...

Our next stop was my house, and we were already an hour behind.  We shot a series of shots of Jessca in Betty's apartment, mostly short bits requiring one or two setups, mini-scenes or missing elements of other scenes.  Given that it was our last day, and we had to make it, the temptation existed to cut corners and just blast through the shot list, but that isn't what we did: we took our time with each one, lighting them just right, and Chris executed some really nice camera moves  I thought up pretty much on the spot.  The material was beautful.  I added another short bit, one which I felt clarified what happens when Betty is possessed by her boobs: just a short shot, but something I felt her character needed.  Our last scene in m y house was a scene in which Jessica wrestled her boobs for control of her body, a riff on the old Jeckyll and Hyde transformations.  Jessica nailed what I wanted even though we hadn't rehearsed this part in advance - in fact, we hadn't done any rehearsing in quite a while.

Now for our fina company move!  We vacated my house, leaving a broken stairway railing and sundry set walls in our wake, and returned to the alley behibd Pierce Arts Film Arts Center.  We were an hour late and the pressure was on, but I knew we'd get everything we needed to in the time we had.  Once again, we were shooting portons of the climactic scene,  For those keeping track, this was our third night in that alley for that scene, plus we'd shot pickups of Michael O'Hear and Ale McBryde in aother alley, which be cut into this sequence.  The last time we shot here, I realized we weren't finishing and had Chris shoot all the shots requiring the entuire alley to be lit; now we had much tighter setups requiring less complicated lighting.  We began with, I don't know, maybe ten shots iof Jessica in the killer boob rig, covered with blood; these will all be used to augment the main action.  I knew exactly what I needed and we burned through them.  Then we took Jess out of the rig and shot all a dramatic scene between her and Paul.  Both of them had their lines down and delivered them with the proper gravitas despite their silliness of the dialogue; the crew was cracking up.  Then we shot some pickup shos of Stacey Book's crawling boobs.  That is now a sentence.  Then we captured Jessica's final confrontation with the boobs, and she impressed me with something she added to her delivery.  To reward her, we threw two buckets of methocelulose (standing infor silicone) on her.  And then we shot the end of the film and called a picture wrap.

Wrapping a feature film on which everyone pulled together like they did on this one is an iodd mixture of feelings: elation that we did the best work we could and sadness that, once again, a "movie family" has to break up.  It's part iof the porocess, you can't move on to post production if you doin't finish production.  Chris keeps his equipment at Pierce Arrow, and while he and some of the crew packed up his gearand moved it upstairs, others cleaned the alley and packed to leave.  At the endof the night, a small group gathered, enjoying each other's company before moving on.

This was a great shoot, and even though it was spread out over ten weekends, it never dragged,  I know we made a special movie that everyone who worked on it can be proud of the finished product.  But we're not done yet!  We still have one green screen day ahead of us, in which Jessica's bloody hands will battle a monster boobs puppet.
Gregory Lamberson

frenzy wolves lg

Yesterday I received my author copies of THE FRENZY WOLVES, the third and final book in my werewolf trilogy The Frenzy Cycle.  It looks good, as all my Medallion titles do - they do a great job with production.  I'm told readers who pre-ordered the book from Amazon should receive their copies today, ahead of the offcial Tuesday, October 14th release (not that you'll be able to find it in bookstores; no need to email or message me, 'I can't find your book anywhere!', all of my titles are easily found online).  I'm excited for the release, I tink it's a damned good book that ties the previous two entries together and will leave readers satisfied.  Here are the three reviews the book's received, all of them pretty glowing.



"Lamberson’s third and final Frenzy Cycle installment (after TheFrenzy War) is an engrossing tale that can stand on its own."

"Mace is a sympathetic and thoroughly modern protagonist who agonizes over how to define terrorism in a complex world even as he longs for suburban surcease from his sorrows. The story unfolds smoothly, and, while some unwieldy characters never come alive, the plot is riveting. (Oct.)"

FANGORIA (Chris Alexander):


"It’s hard to keep up with Buffalo-based lunatic, Greg Lamberson. Writer. Director. Producer. Author. Film Festival director. Father. The man is prolific (see FANGORIA #316 for our extensive feature), tireless and attacks all his interests with vigor. He’s also a great storyteller as well as a fine mythmaker, and his latest novel, THE FRENZY WOLVES, is yet another solid chapter in his vibrant, eccentric body of work."

"The book is the third and, according to the author, last installment in his FRENZY cycle, whose previous entries included THE FRENZY WAR and THE FRENZY WAY. Only someone like Lamberson could link werewolves to terrorism to cop thriller pulp to Spanish Inquisition nods, while making it all seem both deadly serious and perfectly palatable. That’s what his FRENZY series is all about. In WOLVES, our hero, NYPD Captain Tony Mace, is being lauded for bringing down a terrorist cell dubbed ‘The Brotherhood of Torquemada.’ Mace plays along, but secretly knows the truth: the Brotherhood are/were a clandestine sect of extremist monster hunters out to decimate every werewolf alive!"

'“Frenzy” is the operative word in these books, as Lamberson writes with a rough pen, hammering out the monster mash action (vaguely quoting the UNDERWORLD films and WOLFEN) and slamming it up against hard-boiled no-bullshit SERPICO-styled cop thriller melodrama. And it works. Lamberson – a noted exploitation filmmaker whose works include the SLIME CITY films – ain’t no fool and is clearly writing these books with the intent of flipping them into cinema. His wordplay reads often like a screenplay, detailed and visual. We’d welcome such a genre-bending film or franchise, especially considering the dearth of werewolf movies being made."

THE FRENZY WOLVES will be out this Fall from Medallion Press and by the time it drops, Lamberson will have accomplished more than most artists do in a decade. Sure, it’s about quantity with the man but thankfully, quality is always riding shotgun."

For more on THE FRENZY WOLVES, visit



"Like the two novels proceeding it, THE FRENZY WOLVES is written at a break-neck (full pun intended) pace, is full of action and twists, and features an edge-of-your-seat scene inside an elevator shaft. And while the series ends on a satisyfing note, I'm all for seeing some more from Captain Tony Mace, especially in light of some surprise developments. Fun stuff wether you're a werewolf fan or not."

There you go: three killer reviews, hopefully the book sells well.

Gregory Lamberson
21 September 2014 @ 11:31 pm
Today was one of our biggest days on KILLER RACK.  On paper, our two bar scenes totaled only 6 and 2/8 pages, and average day for me.  But screenwriter/co-star Paul McGinnis and I added so many characters to the script, and most of those characters converged in today's two scenes, and I had a bunch of little bits I added myself, so it was much bigger than it appeared to be.  We returned to the Medina Theater, 40 minutes away, where we shot the bar scenes for DRY BONES.  I was a little hesitant about reusing the same location, and made it a personal goal to make it look as different as possible, so I staged every piece of the puzzle as if we were in a new location.  My key team - Paul, Rod Durick, Jessica Zwolak, Chris Rados and Sam Qualiana had all been part of the BIONES shoot, and so had our swing gaffer, Scotty Franklin.  Our liaison was again "O'Mick Donald," who really made sure we were set to go.

Right off the bat, we had an enormous cast, including many extras who had performed bit parts in previous scenes; I was pleased so many of them made the drive to be with us today. Having so many people return for our last day with extras made it a bttersweet day. I was also pleased that Jennuifer McMahon, formerly Jenifer Bihl, the lead from SLIME CITY MASSACRE, joined us,  I can't name them all, or my blog will resemble an IMDB listing, but it was a great bunch, includig newcomer Erika Instead, who came as a jouirnalist.  Chris and I did a lot of scenes in a manner I haven't done before: dollying from one conversation between two characters to another cnversation between two others, and sometimes to a third.  It reallya added a fluidity to the sequence, and sped up the day at the same time.  I also added a brief musical number - our second! - and Kim Piazza helped me stage it.

By the second half of the day, I started calling "picture wrap" on so many people who have been helping us from the start.  Our set call was 10 am, and we were done with the bar by 6 pm.  But we weren't finished shooting.  We still have to shoot the endingto our climax, even after two all nighters in the alley at Pierce Arrow Film Arts Center.  We hope to finish this Saturday, but one of our actors, Alexander McBryde, will be out of town.  Alex plays one of our two detectives, Michael O'Hear plays the other.  We need to shoot their ending together, or not at all.  I wanted to get them in the same frame as Jessica and Paul, but that just wasn't possible.  So we either needed to get their pieces of the climax tonight, or reassign their dialogue - including each actor's most important lines - to Paul.  My plan was to shoot in back of the theater, and cut the shots into the footage shot elsewhere.  And then the forecast called for rain and thunderstorms.  But it didn't rain, we got the shots, and called picture wraps on Michael and Alex.  And then we shot one bit with O'Mick Donald, whose death went from being off screen, to somewhat onscreen, to full on screen - shot over three nights.

We wrapped at 8:22 pm and were on the road by 9:00 pm - one houir ahead of schedule!

One mnore day of principal photography to go...