By James Adams, The Globe And Mail, 2 January 2008 (note: full text online at www.theglobeandmail.com)
"My relaxation is my work, I'm incredibly lucky in that somebody up there decreed, 'This man will have a hole in his head and we'll be able to pour
strong fluids, liquors and syrups into his brain and he will imagine bizarre things...'
"I think there is an absolutely direct, indisputable correlation between my life as an artist and the rhythms of my life as a writer and the rhythms of desire. [With Mister B. Gone] I wanted to do something that just came out of my guts and, yes, my balls and through my heart, bypassing my brain, and out. I had to be in that man, that creature, Jakabok Botch... We're talking about energy essentially, creativity: the sex goes into the book, even though there's no sex in the book. If I have sex in the morning, I am useless for the rest of the day; I'm too bloody happy; I've scratched the itch."
By Kevin Nance, Chicago Sun-Times, 6 January 2008 (note - full text available online at www.suntimes.com)
"The world needs to change. It clearly doesn't work, the way we're working it. All of the drowning of the polar bears because they can't get from ice floe to ice floe - they're exhausting themselves in the water. Things are not right. It can't be fancied up by little accords signed tentatively and falsely, then rejected by our own leaders despite our shameful performance of the last two decades on gas emissions. The richest country on the planet, we should have been leading! We need to be scared, we need to be shocked out of our complacency. Three-buck-a-gallon gasoline isn't going to do it. It's do or die. And so the pictures are rehearsals, you might say, rehearsals for the apocalypse."
By Andrew Davis, Windy City Times, 9 January 2008 (note - full text available online at www.windycitymediagroup.com)
"For a lot of people, [the Chicago exhibition] will be the first time people see my [paintings]. The reproductions in the
book are fine, but they are
reproductions. The bulk of the pictures I'm showing in Chicago are 60" x 48", so we're talking about pretty large pictures. There will also be
smaller pictures, so people will be able to come in with $200 and be able to leave with a picture. We want to make the gallery experience a fun
"I would say [the artwork is] 'expressionist'. It's very colorful and it lends itself to fantasy. It's fantastic. If I was really pressed, I'd [categorize] it as surrealism, but André Breton wouldn't have me anywhere near the surrealists because I do think the pictures through and a true surrealist doesn't plan his [work]. I'm also showing a few pictures from the Abarat books. With Abarat, I paint the books and then find the stories in the paintings - a very different way of writing a narrative. I'm putting all of these together in what looks to be a five-book series; I'm currently writing book three. There will be paintings from books that are not out yet - and I'll be selling these as well."
By Robert K. Elder, Chicago Tribune, 11 January 2008 (note - full text available online at www.chicagotribune.com)
"I'm writing Abarat 3, with all the paintings painted now. In fact, some of the paintings that are on display and for sale at the exhibition are Abarat pictures. I think what I write is pictorial, shall we say. A lot of my stuff begins with an image that - for some reason or another - I couldn't get out of my head. It's a bit like the piece of sand in the oyster, not to say all my work is pearls. But it serves the same function. It irritates in an interesting way."
By Clive Barker, Packer Schopf Gallery, Chicago, 13 January 2008 (note: full video footage here)
"This picture was sold and someone already took it away! We've only had the exhibition up two days and they're already taking pictures off the walls!
"We've sold a lot of pictures and I've met a lot of really wonderful people - certainly this is a gallery and a city I will be returning to often..."
By [ ], Artbeat Chicago, Chicago Tonight, 23 January 2008
"I've never been terribly interested in what we'll loosely call horror fiction nor horror painting, if there is such a thing; nothing in this gallery is intended to frighten. It may be intended to disturb or surprise or to push people's buttons so they re-examine the way they think about the world a little bit, but horrify? No, the headlines will do that."
By Paul Kane, Writers' Forum, February 2008
"I've always known somehow or other that I wanted to tell stories. Stories put order where there is disorder. Stories make sense where there is
nonsense. It may be a temporary order but it's reassuring to us...
"One of the hopes I have for Mister B. Gone is that, although it is short, it will linger. It's wonderful writing big, fat books like The Great And Secret Show and Weaveworld, and indeed Scarlet Gospels, but there's also something very satisfying about a first-person narrative which is much shorter but has, hopefully, a few sounds, a few darker notes that would perhaps go unnoticed in a longer piece."
By [ ], The Canberra Times, 16 February 2008
"I am not a horror writer, nor do I consider myself a fantasy writer either. I am a writer who works in my imagination. In one sense, all writers re-invent the world, though some do it with more enthusiasm than others, and with more desire to see the world shaped to their particular longings and anxieties. The only difference in the world of literature is between the guy who writes out of a perceived reality and the guy who creates one for himself. My writing, indeed my work, I think is an attempt to create a narrative in which all these possibilities are explored."
By Michael Ehrhardt, Gay City News, 21 February 2008 (note: full text online at www.gaycitynews.com)
"I live pretty much outside the Hollywood red carpet set and the celebrity circus, in what was originally Ronald Colman's house. Having come from industrial Liverpool, where it's constantly rainy or overcast, Los Angeles is a sort of paradise. In fact, today the sky is brilliantly blue now, and that's invigorating and inspiring. And David and I live way off the beaten track, with enough property for privacy. Occasionally, we'll go into the city to catch a few films. Mainly to keep up with the new trends and talent in film."
By Joe Nazarro, SciFiNow, No 12, February/March 2008
[Re: Pinhead] "You think about those choices now and they seem kind of commonplace, because we're used to those images, but we were basically taking a monster from a horror movie and putting him in a black skirt, and the response from the movie people was not good. At that time, Freddie was going around with his fedora and striped sweater, very much the common man, and I was saying, 'Look, I want this to be a hellish priest!' To me, it had to be robes, and that was a hard sell. Luckily, the left hand didn't know what the right hand was doing, so by the time they really focussed on the project, there was already film in the can. We only had $900,000 to start with, so they weren't going to be able to get back and change it."
By Charlie Athanas, Wildclaw Theatre.com, 4 March 2008 (note: full text online at www.wildclawtheater.com)
"Arthur Machen is wholly neglected in this country and I'm afraid in England, too. He is, to my mind, easily as important as Lovecraft. He's
certainly a better writer, no question, and infinitely subtler in his effects. Infinitely more humane in his philosophies and completely untouched by
the anti-Semitism and misogyny, which to my mind is so strong in Lovecraft that it makes the work odious...
"Yes, this man redefines genres as far as I'm concerned. I've never had a taste for Lovecraft. Never understood why anybody would have a taste for Lovecraft. I recommend to you, for instance, a little story not more than three pages long called, I think, An Incident On High Holborn... It's three, four pages long and it is so charged with magic and, as they say, a sort of documentary reality. It's like nothing in English fantasy. Like nothing in English fiction. Extraordinary stuff."
By Phil and Sarah Stokes, 11 April 2008 (note - full text here)
"I have been, in the last few years I suppose, slowly cutting back on a few things, saying 'I will let that be what it's going to
be': that's been the case with some of the movies, I've allowed Joe and Anthony to do their thing and trusted them to do the
brilliant things they've done, I'm proud of them. Now, just this allows me to come back to the place where I am sitting
right now which is at my desk with my dogs all round me and do what I do best, which is to write stories.
"I got a little too drawn into the movie business, you know, I think I did it out of some self-preservation. In the end though I have realised that the 'self' that I have to preserve is this self; the books will be there when the movies have been made and have been either good or bad or indifferent and, you know, onward...
"I'd be much, much happier to be writing more books and painting more pictures in the years to come than I would be spending time arguing with producers - other people love it, you know, Joe loves it and he's very, very good at it; I am constantly wishing I was sitting somewhere quietly with pen and pencils and so it's really lovely to feel like I have a burst of energy and life to get on and move forward with the books."
By Dee Snider and Debbie Rochon, Fangoria Radio, 18 April 2008 (note - full audio online at www.fangoriaradio.com)
[Re Midnight Meat Train paintings] "These drawings were done early in the process as just, you know, hopefully some portion
of inspiration but really in the end it's got to be the guys who are on the cutting edge of things; the people who are actually
making the prosthetics, the people who are actually wearing the prosthetics who really have to create these things. So
I was doing the easy part, just doing a few drawings...
"It's been interesting because I did not think we'd have any problems with the MPAA with this picture [Midnight Meat Train] and boy, oh boy, oh boy did we have trouble. You know, they said, 'Oh God, it's the hook man!' - Can you believe it, I have a nickname at the MPAA! They are so tired of my bloodthirsty ass coming around causing trouble - so I'm 'the hook man' as far as they're concerned..."
By Tony Timpone, on stage Q&A at the Fangoria Weekend of Horrors, 26 April 2008 (note - full transcript online at www.hellraiserprophecy.com/clive/)
"They wanted to take the word 'meat' out of the title. I guess it was, The Midnight Tofu Train. No, they thought the title, I guess, was too... crude? Too on-the-nose? To me, it was like a good genre title. It goes back to something we've talked about over the years, about people in this city, in this industry being very happy to take profit from horror movies, but at the same time often being ashamed of horror movies. And it irritates the Hell out of me. I mean, I love horror movies - how long have we been talking to one another? Twenty years...? It's a long time, and that situation of being ashamed of horror movies and just two-faced about horror movies, you know, they would take the profit and at the same time, kind of shun them. You have the situation where very often they won't put them up for review, you know, which I think is a way of sort of saying, 'We're ashamed of this. We're very happy it makes money, but we're ashamed.' And it's interesting when you showed Gods and Monsters amongst the pictures up there. That was true for James Whale back in the early 1930's, and it hasn't changed over these years."
By Ryan Turek, Fangoria, No 273, May 2008
"Expansion [of the story] has its value if you can really make people care more about the characters - and in this
particular case, it has been achieved. Jeff [Buhler] had a way to make the movie work, which is in the script and
on the screen...
"Kaufman is on his own, and he seeks a companion in the story - and he finds that companionship in the city, as it were. The movie, in that sense, makes a better choice, because he has a lot more to sacrifice."
By Clive Simmons, (i) DNA, No 98, March 2008 (ii) slightly rewritten as 'Dark Side Of Clive Barker', The Courier Mail, 31 May 2008 (note: full text online at www.news.com.au/couriermail/)
"[Writing] gives me a great calm. It siphons off the madness in my head. You know in Abarat where Christopher
Carrion siphons off his nightmares which float in the fluid around his neck? Well, the closest character to me of all
I've written is Christopher Carrion. Without a peep.
"I'm a very, very dark person, I have a very dark place within me which sometimes intimidates me. I'm very aware that I'm a man with a darker side, and that I have to keep it in balance.
"Christopher Carrion is fighting a hard battle to retain his own self; his sanity and redemption, and I fight that battle daily. I'm not going to be all Walt Disney or Pollyanna about this. I do write these books, and they come from a place within me, and it would be naive to say that those things are not real."
By [ ], Newsweek, 16 June 2008 (note: full text online at www.newsweek.com)
[My Five Most Important Books - 3:] "Peter Pan by J. M. Barrie. The abiding myth of my childhood and of most gay men's lives: infinitely postponed adulthood. I will never have children; I will never take on adult responsibilities."
By Tom Blunt, AMC, 24 June 2008 (note: full text online at www.amctv.com)
"I have to believe that some of this, if not all of it, is rooted in an age-old problem, something that happens when you have a change of
management: the work that was put into development by the previous folks is not treated or finished respectfully. I've seen these politics
before, and I'll probably see them again. I know for a fact that we're not the only ones that are having this problem...
"The movie is fucking great, and it's not right to stop horror fans who've been looking forward to seeing the picture from seeing it on the big screen. I've seen it with audiences, and they go nuts... This is Kitamura's first American release, and there's no question that it works. I think he deserves to have it seen by the largest audience possible. I know it will be seen in huge numbers on DVD, but that isn't the same as five hundred people in a packed theater."
"My issue is with the control that individuals have in these cases - people with no interest in the movie as an artistic piece, with no concern for the care that was taken to put it on the screen... and who very often have only political motivations. They're tossing this thing away as if it matters not at all to them. Usually those agendas are fiscal, and that's what confuses me here. If they wind up putting this film on a hundred screens for a week, they're leaving millions on the table."
By Calum Waddell, SFX, No 171, July 2008
"The Fellows Who Live in the Back of My Head.
"I'm serious here. I never had any author that I wanted to follow in the footsteps of. It was always these strange little fellows that live in the back of my head who convinced me to start writing. I wish I could tell you that there was one person or moment that inspired me but that is not true. I felt very different from a lot of my school chums when I was younger - and I think you hear this from a lot of horror and fantasy fans. All I did was take my strange little friends into adulthood. I never let them fade away. They remain in my head, imagining stuff, which is how I write my stories."
By Phil and Sarah Stokes, 17 July 2008 (note - full text here)
"I have been dragged in the last few weeks into an area which I had very much wanted to be liberated from. And I let myself be dragged in because I'm angry and I'm angry on behalf, mainly, of Mr Kitamura. I mean, we'll make other movies, he will make other movies but this one [Midnight Meat Train] was his first US picture. I mean, this is the picture he came from Tokyo - with his family - to make, he relocated and he's made a fucking great picture that deserves to be seen by a larger audience and on a bigger screen than it is now going to be allowed to be. And I think that it is a shameful thing for Joe Drake to be responsible for. And this man is no friend to artists, that is for sure, and I would always like to think of myself as being a friend to my fellow artists and so that was chiefly the reason I jumped on board this - I could not bear to see this being kicked around when so much love and care, not just from Kitamura but from DiBlasi and Daley and all the others who have put their love and devotion into the thing and it's just become a political football."
By James Grainger, Rue Morgue, No 81, August 2008
"What most disappoints me [about Lionsgate's treatment of Midnight Meat Train] is that the audience might not get to see this movie on the big screen, with all the subtleties you get in a theatre, including the awesome sound mix. The whole idea was that this movie would literally take you on a ride into darker places - and it does."
By Paul Kane, Rue Morgue, No 81, August 2008
"[The Book Of Blood] was my homage to Ray Bradbury's The Illustrated Man. That had been a very important book in my youth and I wanted to find some twist on it that had two things that Ray never touched upon, actually most writers had never touched upon: sexuality and offbeat sexuality."
By Evan J. Peterson,
The Southeast Review, Volume 26.2, 2008 (note: interview conducted December 2007, excerpt online at http://southeastreview.org/)
"I'm writing Abarat
three right now, and I am aided hugely by the appetite people have for
material. It's very moving to me to have a bunch of people come up to
me and say, 'So when do we get the next piece?'
"I've never oil painted before this project. What I'm finding is that I get to be able to fold into the work, that I'm doing things that I know are going to be necessary in the books from this point on. When I was beginning the books, I was just painting, just painting whatever came into my head, and then I built the books around those paintings. Now, I don't have quite the same freedom. Obviously, as the books get closer to the end, my freedoms will be diminished."
By Stephen Totilo, Multiplayer, MTV News, 21 August 2008 (note: interview conducted by Tera Heater 19 August 2008, full text online at http://multiplayerblog.mtv.com/)
"My thing with Jericho was: Let's make something new. It isn't impossible. You know, people say everything has been done. No. You know, twenty years ago, when Pinhead walked onto the screen nobody had seen anything else like it before, and I feel when you talk about Resident Evil and Silent Hill you're talking essentially [a metamorphosis] of zombie movies. They have limited appeal for me. Though I respect hugely the effort and the care and the beauty of games, I want to be working with people who want to create the War And Peace of games, the Citizen Kane of games, and not just be warming up George Romero."
By Tera Heater, MTV Movies Blog, 22 August 2008 (note: interview conducted on 19 August 2008, full text online at http://moviesblog.mtv.com/)
"[Ryuhei Kitamura] made a fucking great movie, and the politics that are being visited upon it have nothing to do with the movie at all. This is all about ego, and though I mourn the fact that Midnight Meat Train was never given its chance in theatres, it's a beautifully stylish, scary movie, and it isn't going anywhere. People will find it, and whether they find it in midnight shows or they find it on DVD, they'll find it, and in the end the Joe Drakes of the world will disappear."
By Rick Kleffel, 1 and 2 September 2008, The Agony Column (note - full audio online at www.bookotron.com/agony/)
"The notion of 'imminence' comes up over and over and over again in my books: the idea that something is coming. It's central to my idea of the fantastic - that glorious sense you have in great books of fantasy. That anticipation is almost as great as the delivery. Often - for me, for instance, Narnia happens too quickly! You know, the first chapter and you're there! I like books that take a little bit longer; tease you a little bit before they actually get you to the place of wonder."
By Tera Heater, MTV Movies Blog, 3 September 2008 (note: interview conducted on 19 August 2008, full text online at http://moviesblog.mtv.com/)
"The whole notion of a PG-13 horror movie to me is a contradiction in terms. It's like having a XXX Disney picture. It doesn't work...
"To me, you don't have to throw blood around in every scene, but there has to be a sense - and this is not my quote, it's Wes Craven's quote, Wes says that, 'When you go into a horror movie, you need to feel that you're in the hands of a madman.' Now what madman makes a PG-13 picture, right? Your horror-movie madman... doesn't neaten up all the edges and make it all nice for mommy.
"I realize why the studios do this, they do it because they want to bring in younger audiences and make more money. But they don't make better movies."
By [ ], FEARnet Video On Demand, 1 October 2008 (note: full Midnight Meat Train movie and Clive's comments available online at www.fearnet.com)
"The most important thing, I think, that I saw in the movie that jumped out at me as being a perfect realisation of an image from the book was all these immaculately presented corpses: shaved and prepared for consumption, their clothes all folded and sitting on the seats, or laid on the seats where they had once been sitting and now they're hanging upside down by their feet from those straps that they would have been holding onto if they'd been alive."
By Jim Provenzano, Bay Area Reporter, Vol. 38 / No. 40, 2 October 2008 (note: full text online at www.ebar.com)
[Re. The History Of The Devil] "The Devil says, 'Listen, it's time for me to get my moment before the court again.' He's definitely appealing. Part of the interest is that the audience is essentially the jury. We get a bunch of arguments put before us, dramatized. Depending on your politics, you may find there are different choices made by different people...
"The play is then shown in seven parts, each a short flight through history, in which the Devil's identity changes radically. Sometimes, the Devil's a drama critic. Then he's lost in the Greek empire, then in India. Everywhere, he is dealing in souls, in promises. He even meddles with the man who designed Chartres Cathedral; nobody knows who that is. We also go through a witch trial in Switzerland."
By Phil and Sarah Stokes, 11 & 12 October 2008 (note - full text here)
"[Anthony Diblasi]'s expanded the cast [of Dread] and I think he's even darkened the tone, to be honest. I think dark as the story was, it's darker now, I think the movie will be darker than the story. That may in some part be because you're not inside the heads of these characters in quite the same way - do you know what I mean? You know, you're watching them from the outside and, God!, there's so much cruelty in that story, and madness and breakdown and it really is quite a thing... I think... everybody watching the movie will say, 'What would I do if I was, you know, what would Quaid find in me? And would I survive?'"
By Ed Potton, The Knowledge, The Times, 25 October 2008 (note: full text online at http://entertainment.timesonline.co.uk as 'Clive Barker Stalks The Mainstream With Midnight Meat Train' )
"I came from a household that believed in work. It wasn't beaten into me, because there was no physicality; it was... inculcated.
"I still feel utterly Liverpudlian [but] I'm a hedonist, and coming down in the morning in shorts and T-shirt is bliss."
Appearance with Christopher Monfette at the New Beverly Cinema, Los Angeles 29 October 2008 (note: video online at http://stars.ign.com/dor/objects/912255/clivebarker/videos/ign_newbev_clive_103008.html)
[On a suggestion of a name change to The Midnight Train] "There comes a time in the life of any movie when some of the most simple things become challengeable - not because they're really things that are probably going to end up changed, but because 'ah, we haven't got anything to do, it's Monday, sittin' around, drinking coffee... let's change the title of the movie.' 'It's called Ben Hur.' 'Yeah. Ben Him... I don't know, just a thought...'"
By Billy Chainsaw, Bizarre, No 143, Halloween 2008
"I was in New York around the late 1970s and... I had no idea of the New York subway system whatsoever, and by some means or other I stayed on a train until it got to what I now know to be the very end of the line: Far Rockaway. It was night when I got out and there was nobody on the station. I thought, 'Fuck! This is a story, isn't it? Anybody could be creeping up on me now and I wouldn't know it.' And it was that unpleasant experience of frightening myself in the middle of the night in some place I'd never heard of that led to me writing The Midnight Meat Train. That and the fact that there were murders happening on the subway!...
"So I put those two elements together with my homage to H.P.Lovecraft's Elder Gods; the idea that there's a system behind the system that existed way before us - like a sort of dark Illuminati, the anti-Mason - to do harm. I thought the idea that this might be going on was really interesting."
By [ ], DVD And Blu-Ray Review, No 122, November 2008
"I have plots for two more [Midnight Meat Train] movies which would have extended the narrative and allowed the mythology to breathe a little bit, but I think the DVD will have to do really fucking well for that to happen.
"[The DVD will have] a lot of good interview stuff. It's the first time Kitamura has been interviewed outside Japan. But to me the most important thing is there's so much more of the movie itself. There'll be two and a half minutes more on the DVD which isn't in the theatrical... Violence! Lots of violence!"
By [ ], Essential Entertainment, released November 2008
"[Dread]'s a story about fear. It's really about what people will do to other people. Very often when we're talking about our fears, [we're] talking about the thing which is most tender in us, the wounded part of ourselves. The movie is about the character who is giving unwilling participants the experience of fear."
By [ ], SFX, No 176, December 2008
"Doctor Who never terrified me. You hear all these tales about that now - especially since the new series has been so successful. It seems that a lot of people have come out of the Doctor Who closet and said, 'Oh, I used to hide behind the couch when the Daleks came on.' Well bollocks to that! Maybe I am too fucking twisted but, as a child, I just loved it all. To me it was chilling but never scary. Doctor Who was too much fun to be creepy! You'd go to school on a Monday and everybody would be running around with one arm extended saying, 'Exterminate! Exterminate!' I think it is a testament to how original Doctor Who is that  years later they can still make the series feel fresh. Now you see metaphysics and pholosophy in there."
By Nickolas Cook, Dark Recesses Press, Vol 3 No 10, Winter 2008
"I feel obligated - heavily obligated, let me say - to finish off the Abarat books (I'm just about to deliver book three) as well as my paintings to go with it, and many for book four and five. At which point, when all five books are finished, I can step back freshly and spill some more literary blood on The Scarlet Gospels...
"You know there's Dante's Hell and there's your father's Hell. Maybe every generation has its own Hell. Maybe every individual has his own Hell. I'm certainly trying to avoid the clichés, let's put it that way. But even the clichés have become part and parcel of Hellraiser because The Scarlet Gospels is mixing two of my mythologies: Harry D'Amour and the Cenobites will all encounter each other in Hell. And I want to be sure that the Hell they're wandering through is something we've never seen before."
By Guy Haley, Death Ray, No 16, Winter 2008
"I wrote Imajica at a time when the Aids crisis in America was huge, and I had lost a lot of friends. I was forty,and I was giving myself a present for my fortieth birthday, which would be the most ambitious tale I could summon.
"In it there are two gay men, Clem and Taylor, and one of them passes away of Aids. I had a friend to whom I was very close, almost like a brother, and he'd died of Aids - he's buried in a very lonely, cold graveyard where nobody ever goes. We were very close, and I wanted a way to put him into the book.
"So Clem, one of the men, dies and becomes a spirit, and as the book goes on - and especially towards the end when the destruction of the world is in the offing - he enters into the body of his living lover, and they become a single force, an angel. Not an avenging angel, not an angry angel, but an angel of love and revelation. And here's the point to all that. I get letters, and they're now in their hundreds - and though they've tended to tail away now, it's in a good way, because fewer people are dying from Aids than they were - but these letters are from men who've wanted passages of this read at their their funeral services, they've wanted their lovers to read it to them as they've died.
"I can't fully describe that to you, but I'm sure you can imagine how that feels. And it's so far from... what? 'I have seen the future of horror and his name is Clive Barker' as it is possible to get... It's an extraordinary gift that has been given back to me by these people..."
By [ ], SFX, No 177, Christmas 2008
"In the not too distant future I am looking forward to completing the second book of Galilee. But I also have plans for the Nightbreed mythology as well. I definitely want to take that further - so expect a sequel to Cabal at some point. But first up will be the new Abarat book and a new collection of short stories. Expect them both in 2009."Click here for Interviews 2009...