Sunday, 2 August 2015

the biggest media hoax in history?


The textbook answer to this one will be the Orson Welles War of the Worldsbroadcast. 

I believe my favourite one, though, is better, because it involved more people who were in on the joke, it carried on for far longer, and the hoax wound up becoming self-fulfilling.

It’s about a New York Times bestseller that didn’t exist.


This was a hoax pulled off in broad daylight by a US talk radio host, abetted by his legion of fans. Did I say broad daylight? I meant night, and this story is about how the radio host and his listeners concocted an elaborate hoax that fooled people around the world.


Setting the scene


Some readers might recognize the name Jean Shepherd as the writer of A Christmas Story, made into a movie in 1983. Back in the Fifties, though, Shep (as he preferred to be called) was a night-time radio host at a time when television had started to become the medium of choice. Radio was struggling to reinvent itself.

Shep was a true pioneer, a talk radio host at a time the term didn’t even exist. It was so cutting edge that his employer, New York City’s WOR Radio, gave him the dreaded midnight-to-dawn graveyard shift. 

It didn’t matter to Shep. The long stretch of empty hours meant he could ramble on to his heart’s content, and his unique brand of humour earned him a devoted following. He called his listeners his “Night People” and bonded with them to the extent that this close-knit community even had their own password to identify each other in public. (Those who exclaimed “Excelsior, you fathead” to a fellow-listener cashier at a store, for example, would be given a free pin with the retort, “Seltzer Bottle, you slob!”).

Shep would contrast his ‘Night People’ with the ‘Day People’—who, he would say, were file-cabinet lovers bound by rules, lists and schedules. 


How the hoax started

One day in April 1955, Shep walked into the Doubleday bookstore on Fifth Avenue, looking for a script of the old radio serial Vic and Sade. When he couldn’t find it on the shelves, he asked a clerk for help. 

The clerk checked his records and told him that not only did they not have the book, but the book couldn’t have existed because it wasn’t on any publisher’s list.

This infuriated Shep, who was positive the book did exist. On his show, he railed about the Day People who believed in their silly lists. Bestseller lists, he said, got made by bored reporters who would call book dealers to find out what was selling. All it would take for a book to make the list would be for lots of inquiries for the same title at different dealers.

Then came his brilliant idea for the hoax.

“What do you say tomorrow morning each one of us walk into a bookstore, and ask for a book that we know does not exist?” 

As Shep fleshed out the details for this fake book, he asked listeners to suggest a title. One listener came up with I, Libertine; another suggested the book should be about 18th-century English court life. The author, it was decided, would be ‘Frederick R. Ewing’, a retired Royal Navy Commander, now a civil servant in Rhodesia. 


The plan goes into action

The next morning, hundreds of Shep’s listeners invaded bookstores in New York asking if they had I, Libertine in stock. When told no by mystified clerks, they would ask if they could have it ordered. There were 27 requests at the Fifth Avenue Bookstore alone.

In the weeks that followed, thousands more Shep fans did the same at bookstores around the United States. There were even requests for the book in England, France, Italy and Scandinavia, thanks to Shep’s listeners who happened to be flight crew or on ships. 

Listeners shared some of their hilarious stories on Shep’s nightly show. One woman told of how she mentioned the book at her bridge club and four of her fellow players claimed to have read it. Another, a college student, submitted a nine-page essay he had written on Frederick Ewing and received a B+ from his professor with the note “Superb research!”. One gossip columnist for a newspaper was taken in by a listener and wrote about how he had had lunch with the author Ewing and his wife Marjorie who were passing through town on their way to India.

The book that never was started getting the kind of buzz that real publishers mostly dream about. The crowning (or is that clowning) moment came when a prominent Boston church put I, Libertine on their list of banned books. After all, nothing causes demand for a book to skyrocket than for people to be told they were forbidden from buying it.

Sure enough, by early 1956, I, Libertine made the New York Times bestseller list.


The prank is revealed

The hoax was clearly spiralling out of control, and Shep himself wondered when and how he should pull the plug. As it turned out, he didn’t have to.

One evening, a listener called in and identified himself as a reporter with theWall Street Journal. He said he had been following the prank from the beginning, but wasn’t it time to reveal all? Shep agreed to talk to him, and the story was in the papers the next day.

Interview requests began flooding in—not just from within the US, but other countries as well. The British newspapers picked up on the story and had a field day; so did the Soviet Pravda, which reproduced the WSJ story almost word-for-word. Only the New York press was not amused.


Post-script: A bestseller is born

One day, while the hoax was still in full swing, Shep received a call from a friend, sci-fi author Ted Sturgeon. Ian Ballantine, the publisher of Ballantine Books, he said, was desperately trying to secure the paperback rights to I, Libertine. The three of them agreed to meet for lunch, and after the beans were spilled, they decided to produce a real book with that title. Shep, Sturgeon and Ballantine’s wife Betty shared writing honours, although ‘Frederick R. Ewing’ would retain authorship and a bio (with Shep’s picture) on the back cover.



A total of 130,000 copies were printed and the book was released in September 1956. The reviews were mixed, but the book sold in enough numbers to be legitimately called a New York Times bestseller. Copies of that original edition are now collectors items and can be found on Amazon.

Saturday, 30 May 2015

A History of Fake Blood In Horror Movies



131021_MOV_CarrieRemadeBlood
Left: Sissy Spacek in Carrie (1976). Right: ChloĆ« Grace Moretz in Carrie (2013).
Photo stills courtesy MGM and United Artists. Illustration by Lisa Larson-Walker.
When it comes to adaptations of Carrie, the blood literally comes in buckets. For the newest version, director Kimberly Peirce was determined to get the climactic drop of pig’s blood just right. As she described it in a recent New York Times Magazine profile, she tried three-gallon, four-gallon, and five-gallon buckets, and she tried a three-foot drop, a four-foot drop, and a five-foot drop. Trying all these different configurations required take after take after take. When she asked Brian De Palma, director of the classical original Carrie (1976), how many takes it took him, he apparently replied, “What do you mean? We did one.”


Movie gore has come a long way since the first Carrie. What pumps through our veins hasn’t changed a drop, but what goes in those buckets has been reformulated again and again.
Fake movie blood—sometimes called “Kensington Gore,” after the street of that name in London—began evolving long before 1976. For black-and-white films, when blood was permitted at all (the censorship guidelines of the Hays Code in Hollywood didn’t much allow it), filmmakers used something quite simple: chocolate syrup. On black-and-white film, it made a starker contrast than red blood, and no one in the theater would ever know it was just Bosco or Hershey’s.
At first, technical advances were modest. For Psycho (1960), employing state-of-the-art makeup design didn’t mean using a new kind of blood, just a new method of delivery: the plastic squeeze bottle. It was brand new with Shasta chocolate syrup. As makeup supervisor Jack Barron explained it, “This was before the days of the ‘plastic explosion,’ so that was pretty revolutionary. Up to that time in films, we were using Hershey’s, but [with the squeeze bottle] you could do a lot more."

Psycho blood
Chocolate syrup bleeds from Det. Arbogast (Martin Balsam) in Psycho
Photo still courtesy Universal Pictures
Color presented new challenges. Starting at least as early as The Curse of Frankenstein (1957), the first color film from the schlockmeisters at Hammer Film Productions—a British studio, exempt from the Hays code—blood began to splatter the silver screen in Technicolor. But horror filmmakers were still unaccustomed to working in color, and so the blood didn’t look right: In Hammer films like The Curse of Frankenstein and Horror of Dracula (1958), it was cartoonishly bright. The so-called “Godfather of Gore,” Herschell Gordon Lewis, knew this was a problem. While working on what became the first splatter filmBlood Feast (1963), he “realized how purple the fake blood at that time was because it had been prepared for black-and-white movies.” To avoid using these substandard materials, he got his blood custom, from the charmingly named Barfred Laboratories.

Blood_Feast_poster
Blood Feast, "more grisly than ever in blood color!"
Promotional poster for Blood Feast
The bright red blood wasn’t a problem for everyone. Jean-Luc Godard used a bright, unnaturalistic red for movies like Pierrot Le Fou (1965). This suited Godard’s more abstract, self-conscious approach to the movies. When Cahiers du cinema pointed out, “There’s a good deal of blood in Pierrot,” Godard shot back: “Not blood, red.”

But the man who revolutionized movie blood—and the rest of movie makeup—was Dick Smith. For groundbreaking and bloodletting movies like The Godfather (1972),The Exorcist (1973), and Taxi Driver (1976), Smith perfected the recipe for fake movie blood:
• 1 quart white corn syrup
• 1 level teaspoon methyl paraben
• 2 ounces Ehlers red food coloring
• 5 teaspoons Ehlers yellow food coloring
• 2 ounces Kodak Photo-Flo (Poisonous)
The corn syrup served as the base, the methyl paraben served as a preservative for longer shoots, the food coloring was adjusted for just the right hue, and the Photo-Flo made sure the red stuff flowed just right—it ran over skin and soaked into fabric just like real blood.

Sonny (James Caan) in The Godfather
Sonny (James Caan) bleeds some of Dick Smith's special recipe in The Godfather
Photo still courtesy Paramount Pictures
In fact, the new blood quickly proved a little too real. When the Motion Picture Association of America (MPAA) got its hands on Taxi Driver and its climactic bloodbath, they threatened it with an X rating. Columbia Pictures told director Martin Scorsese that if he didn’t recut the movie to an R, which would mean hacking away at the finale, they would do it for him. Scorsese came up with a solution: In order to make the blood look less realistic, he desaturated its color until it took on more of a sepia tone. Scorsese has said that he secretly thought the new blood was even more disturbing, but the MPAA gave the movie an R.
Today there are dozens of different recipes for movie blood, though many are simple variations on Dick Smith’s formula. For edible blood—essential if the fake blood might get in the actor’s mouth, or if a scene requires that the actor cough it up—there are recipes for “Chocolate Blood” and “Peanut Butter Blood.” For Evil Dead fans, there’sBruce Campbell’s recipe for another edible blood, which uses non-dairy creamer. For those who don’t want to do the work of making the blood themselves, fake blood for movies is also available commercially: Robert Benevides, who teaches special effects makeup at New York University’s Tisch School, told me that the best blood today is an alcohol-based blood called Fleet Street Bloodworks, which retails at $65 per pint.

Evil_Dead_II
Bruce Campbell walks around soaked in Karo syrup in Evil Dead II
Photo still courtesy Lionsgate
Often several different kinds of blood are used for the same movie. In addition to whether or not the blood is edible, each blood is selected according to the lighting, whether the blood should slowly dry or stay wet, whether it’s arterial (lighter) or venous (darker), and what kind of style the director is looking for. For one of his gorier plays, writer-director Martin McDonagh used nine distinct varieties of fake blood. And some filmmakers still want the old-fashioned stuff: For the nightclub massacre inKill Bill, Vol. 1 (2003), Quentin Tarantino ordered more than 100 gallons of “samurai blood.” “I’m really particular about the blood, so we’re using a mixture depending on the scenes,” he explained. “I say, ‘I don’t want horror movie blood, all right? I want Samurai blood.’ ... You have to have this special kind of blood that you only see in Samurai movies.”

Kill_Bill_nightclub
Gallons of "samurai blood" splatter the House of Blue Leaves in Kill Bill
Photo still courtesy Miramax
The newest fake blood isn’t made out of chocolate syrup or non-dairy creamer: It’s made out of pixels. This CGI blood has been used not just for horror movies and schlocky action flicks like The Expendables 2 (for which all the blood was CGI), but for key sequences in movies like David Fincher’s Zodiac (2007) and Michael Mann’sPublic Enemies (2009). The CGI blood allowed Mann to show a bullet exiting John Dillinger’s cheek without having to cover Johnny Depp’s face in prosthetics. Fincher reportedly preferred CGI blood because it allowed him to shoot many takes without having to wait around between each one for setup and cleanup.
But both CGI blood and the practical stuff have their shortcomings. For the originalCarrie, a combination of Karo syrup and food coloring looked great, but it was “sticky,” star Sissy Spacek later recalled: “When they lit the fires behind me to burn down the gym,” she said, “I started to feel like a candy apple.” (Bruce Campbell has had similar issues: At one point during the making of Evil Dead, his shirt hardened and “broke.”) For the new CarrieCGI blood was reportedly used for some scenes, angering fans that have complained that it looks fake. These fans may be worried that CGI blood is replacing all practical makeup, but, according to effects coordinator Warren Appleby, the old-fashioned stuff is still very much alive: He and his crew used “upwards of 300, 400 gallons … just for the iconic blood drop.”