With Waking Hell coming out I thought I’d do a couple of ‘making of’ posts – two bookumentaries, if you will. One of them’s on the music that inspired the book – it’s up over on the Gollancz blog.
And this is the other one, about four of the films that helped inspire it. So now sit back, grab your popcorn and relax as I make like Alex Cox and introduce you to… WakingHellodrome!
Night of the Demon
When I started writing Waking Hell, I had one very definite ambition for it. I wanted it to be a very pure science fiction book that also worked as a horror novel. So, I went back to some of my favourite horror movies for inspiration.
I’ve always loved Jacques Tourneur’s The Night of the Demon (also known, as in the trailer below, as Curse of the Demon). Its hero, Dr John Holden, is a strict rationalist who falls prey to an entity that forces an entirely new world view on him. His antagonist, Julian Karswell, is at once a boisterous clown and a terrifyingly effective black magician.
I was fascinated by how the film mapped and explored those contrasts. And I loved the sense of mysterious, remorseless pursuit that suffuses it. Both fed very directly into Waking Hell.
Oh, and Night of the Demon is based on M. R. James’ story Casting the Runes. James too was a big influence on Waking Hell. In particular, there’s something oddly intimate about many of his hauntings. So much of his horror peaks late at night, in bedrooms. One of the book’s key scenes contains an oblique nod to that.
This is a film that – when I first saw it as a teenager – blew my mind. It’s a profoundly odd movie, its characters deeply absurd, its settings (for the most part) a series of brilliantly used late night Paris locations. It’s shot through with a very strong sense that – with the world asleep – anything can happen. Those who remain awake no longer live within our city, they’ve fallen into its dream of itself.
That was something I wanted to capture in Waking Hell, that sense of being trapped within a city that has suddenly become completely other, no longer a home but rather a trap. Buffet Froid was the film that most directly inspired that, but I also drew on a long line of ‘estranged in the night’ movies – The Warriors, Round Midnight, Subway and so on.
As you read Waking Hell, hopefully you’ll see how all these percolate through into its heroine Leila’s adventures. She too is overthrown by night; the darkness both hides the world she’s always known and reveals a new one, more complex, more dangerous but potentially also more rewarding than any she’s known before.
Le Frisson Des Vampires
This is a very strange film indeed. On the one hand, it’s a 70s exploitation horror movie, with many of the flaws that that implies. On the other, it’s utterly engrossing and original, shot through with genuine surrealism and driven by three of the most peculiar vampires on screen. Watching it feels like spying on someone else’s dream.
The first vampire we meet casually unsqueezes herself from within a grandfather clock. She has two male companions, who slowly but surely take over the film. I found them an utterly hypnotic presence. They’re all over this trailer, too:
On the one hand, they’re a completely absurd duo. They’re given to nonsensical pseudo-intellectual lectures on occult history, they’re pretty ineffectual and their fashion sense is astonishing. Drawing on an apparently inexhaustible wardrobe of early 70s hippy finery, in every scene they look like they’ve dressed up as several members of the Monkees at once.
But on the other, I found in them a profoundly unsettling sense of menace. At first, that seemed utterly bizarre. I couldn’t work out why they spooked me so much. Understanding why these 70s relics had such a hold over me helped me define some of Waking Hell’s key bad guys – the Pressure Men.
Quatermass and the Pit
The past and the future have one thing in common – they contain everything. Science fiction normally looks to the everything of the future for inspiration, but Quatermass writer Nigel Kneale took the opposite tack. In Quatermass and the Pit, he wrote the past as if it was the future.
In the world of the film, a fully SFnal Martian invasion is already ancient history. His characters’ challenge is to deal with it not as a thing yet to come, but as an undeniable, ineradicable fact that radically changes their sense of the past and with it the very nature of their present. For them, memory plays that role that SF usually gives to foresight.
This was a huge inspiration for Waking Hell. I was fascinated by that recasting of SF as a tool to not just look backwards and explore memory but to understand it as the one thing without which the present and the future can’t exist.