Posts Tagged ‘Quarry’

My Trip to New Orleans

Tuesday, September 20th, 2016

I know a lot of you want to see the QUARRY TV show but don’t have Cinemax. Well, Cinemax has (for how long I don’t know) provided You Tube with the first two episodes. Enjoy!

Here they are:

QUARRY Episode 1: “You Don’t Miss Your Water”

QUARRY Episode 2: “Figure Four”

Most fans of the books seemed to like the series, but I’ve had just a few complaints about how the show differs from the novels. Here’s what James M. Cain had to say on the subject:

“People tell me, don’t you care what they’ve done to your book? I tell them, they haven’t done anything to my book. It’s right there on the shelf.”

The Cinemax series is a long-form narrative in the manner of BREAKING BAD or MAD MEN. It’s not an episodic, procedural type of approach. Nonetheless, it clearly flows from my work, and I think honors it. I’d rather have a really good show that takes liberties than a flat-footed one that is rigidly faithful. In any event, it certainly attracts people to my stuff. That, and the checks they send me, is good enough for me.

* * *

What I should be writing about this week is my great trip to New Orleans for Bouchercon. And I did get to New Orleans, as you will see.

First, I have to warn you that this is one of those health updates that nobody really wants to read, including me, and yet I’m going to write it anyway. And this is not a veiled request for sympathy and get-well-wish postings. Really.

Here’s what is going on. For better than a month and a half, Barb and I have been battling what we thought was a bad chest cold with cough. I got it first, and Barb got it about a week later. Initially I thought I might have congestive heart failure again, which is what started all the fun and games last year; but my cardiologist said I was okay on that front.

So we settled in to ride it out.

Then I started having these fits or seizures or some damn thing where I would start gasping for breath and couldn’t breathe. It was like drowning without water. The first time I thought I was dying. When I survived, I realized it was just part of the dance.

One night a week and a half ago or so, I woke up with a gasping fit and stumbled downstairs, where Barb was sleeping on the couch, fending off her own “chest cold.” She helped me through it and then had the same kind of fit herself, even worse than mine. I called 911, but then Barb got her breathing going again, so instead of requesting an ambulance, I drove us to the emergency room, where we were given some medication and sent home. But I was swabbed for a test that, the next day, turned out to indicate a bacterial thing and not a virus. Both Barb and I were put on a very strong antibiotic.

I started feeling better. I still had the cough, but not as frequent. I should say during this period that I managed to do two band jobs that were the worst I ever experienced. I do most of the singing and it was brutal. I probably sounded like Tom Waits gargling razor blades. But I got through ‘em.

Meanwhile, Bouchercon was looming. Barb, still having the gasping fits two or three times a day, decided early on to stay home. We packed a bag for me and decided we’d wait to the last minute to decide whether I’d go. I was feeling pretty good, and then Barb went a full day without a fit. So last Thursday morning, she drove me up to the Moline airport, we had a nice breakfast, and she saw me off with a kiss, a smile and a wave.

So I flew first to Chicago, then to New Orleans. I arrived around four p.m. Something odd – kind of booga-booga odd – happened when I got there. At baggage claim, the bell sounded and the light flashed, and one lone bag came gliding down its long path. All by its little self. My bag. In all my life, I’ve never had my suitcase be the first off a plane. And everybody was staring at me, wondering why the hell I rated.

Must be a good omen, I thought, and hauled the bag off.

Right then my cell phone rang – or rather, played “Harlem Nocturne,” my ring tone. I answered and my nextdoor neighbor told me that Barb had stumbled over in the midst of what I later learned was five of those fits in a row. 911 had been called, and she had been taken by ambulance to the emergency room. The neighbor was there with her now.

I got all the info I could from the neighbor, which wasn’t much, and immediately found my way to the American Airlines ticket counter, where a very nice woman waded through my hysteria and got me on another flight back home. It was touch and go, because I had less than an hour to make the flight.

But I made it.

The flight from New Orleans to Dallas was awful. I was so frightened for Barb that I could barely keep from freaking out. When I landed, I called the neighbor’s cell and Barb was still at the hospital, getting X-rays and being well tended to. On the flight back to Moline, I was a little less tense.

Barb was home when I got there (the neighbors picked me up at the airport) and she was glad and relieved I’d come back, but beat herself up for putting me through such a long awful day of flying. I’d hear none of that, and over the weekend I nursed her through a number more of those terrible gasping episodes. She did better, having some really strong codeine cough syrup to help her out, but it was obvious I needed to be at her side.

Coming up this week we have our 50th class reunion and we are hoping she will be in good enough shape to attend. I am playing with Crusin’ for the event and hope my coughing will not still be a problem. Coughing remains a major issue for Barb and talking aggravates it. So that’s a factor. She has really been through a shit storm, but is tough and brave, and though my New Orleans trip lasted only an hour, I’m glad I made it back home that same night.

So that’s why you didn’t get your book signed at Bouchercon.

Getting back to my class reunion…I was supposed to mount a reunion of the original Daybreakers, with Joe McClean of the XL’s subbing for the late Chuck Bunn. It would have been the band’s 50th anniversary in tandem with my class of ‘66 reunion. But then the Daybreakers Curse decided to make the scene (its first appearance was my inability to participate in a Daybreakers reunion last year because of my heart trouble). Our drummer’s wife was diagnosed with lung cancer, sending the two of them into a medical whirlwind. Our lead guitarist then promptly broke his foot. Our other guitarist bailed, in part because he’s recovering from prostate cancer. And of course I had the comparatively minor problem mentioned above.

So my current band, Crusin’, will fill in, with Joe as a special guest on about ten numbers. We’re rehearsing this week, to pick up more mid-‘60s tunes and to work Joe in on his stuff. We will, assuming a plane doesn’t drop on my house, appear Saturday evening at Geneva Country Club in Muscatine.

I hope Barb will be there, too.

* * *

Here’s a mini-interview I did in support of the Mike Hammer collection, A LONG TIME DEAD.

QUARRY seen as one of the most interesting fall shows.

Jeff Pierce at Kirkus likes the complete version of the ROAD TO PERDITION prose novel.

The top ten most anticipated fall shows include QUARRY.

Director Greg Yaitanes talks QUARRY.

Finally, an interesting write-up on QUARRY here, though I disagree with the critic’s take on Logan Marshall-Green.

M.A.C.

Quarry’s Latest Hit

Tuesday, September 13th, 2016

Caption: Quarry (Logan Marshall-Green, right) meets the Broker (Peter Mullan, left).

Barb and I, home battling a nasty viral chest thing, were not with a houseful of friends as we’d hoped to be, on the evening of the QUARRY TV series’ debut episode on Friday. Instead we coughed our way through this improbable chapter in my writing life.

I had seen the movie-length episode before, but not this finished cut, with all of the music cues and audio fixes and final edits. Both Barb and I loved it. Director Greg Yaitanes and writers Graham Gordy and Michael Fuller did a great job, and the rough cuts of the rest of the season that I’ve seen maintain the high standard of the opening.

When I first read Graham and Michael’s pilot script, I remember vividly being disappointed at first because elements of Quarry’s backstory seemed to be missing or changed – then I smiled big as in the final pages those elements presented themselves. The two writers did a fine job re-ordering aspects of the story (the Broker approaches Quarry earlier here than in the novels, for example), and the final, familiar-to-my-readers pay-off is handled crushingly well.

This is indeed an origin story. Initially Graham and Michael intended to serialize the novels themselves, but input from HBO/Cinemax led to this rather measured imagining of how Quarry becomes Quarry.

If the series lasts, it’s likely we’ll get into more familiar territory – the scripts for season two, if there is one, will be loosely based on QUARRY’S CHOICE. Incidentally, I like the Southern setting and the Memphis r & b scene – it provides great grit and color, and you may have noticed I’m a music fan. The Midwestern settings of the original novels were purposely bland, contrasting the over-the-top subject matter with an Americana backdrop. For cinematic purposes, this is better. (And one of my favorites of the novels, the aforementioned QUARRY’S CHOICE, has a Biloxi/Dixie Mafia setting.)

I know some of you, maybe a lot of you, don’t have Cinemax. Obviously there will be DVDs and Blu-rays, and probably other methods of accessing the episodes, like Roku.

The critical response has been extremely good. I am assembling below a sampling (and it’s just a sampling) of the many reviews. No expectation that you’ll wade through them all, nor any reward for doing so.

http://www.avclub.com/review/cinemax-crafts-mediative-pulp-fiction-slow-and-ste-241713

http://www.ksdk.com/entertainment/cinemaxs-quarry-a-timely-action-anthem-dripping-with-pulpy-flavor/316119832

https://www.yahoo.com/tv/quarry-cinemax-review-172947405.html

http://www.tvguide.com/news/quarry-review-cinemax-logan-marshall-green/

http://www.channelguidemag.com/tv-news/2016/09/08/logan-marshall-green-cinemaxs-quarry-fall-tv-standout/

http://www.tvinsider.com/article/96815/roush-review-weekend-premieres-of-quarry-one-mississippi-son-of-zorn/

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=12497

http://flavorwire.com/588779/this-weeks-top-5-tv-picks-12

http://acrossthemargin.com/quarry/

http://reason.com/archives/2016/09/09/70s-pulp-violence-returns-in-cinemaxs-qu

http://canban.biz/tv/quarry-a-deep-new-action-show.html

http://www.ign.com/articles/2016/09/09/quarry-you-dont-miss-your-water-review?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+ign%2Fall+%28IGN+All%29

http://www.awardsdaily.com/2016/09/09/south-park-podcast-quarry-hits-big-and-emmy-news-at-adtv/

M.A.C.

Quarry TV Sept. 9; Mike Hammer Book Sept. 6

Tuesday, September 6th, 2016

How bizarre it seems – in a sense, it hasn’t registered – that the novel I began at the University of Iowa’s Writers Workshop in late 1971 has spawned a 2016 TV series.

My instructor, William Price Fox, didn’t like it. Most of the class didn’t, either. But several smart people thought the first two chapters of QUARRY were the best thing they’d ever read in a Workshop class. Fox, a writer I admired, was spotty as a teacher. He shared some good stories about his Hollywood perils, but he also spent several classes reading his own stuff to us. The class was only two hours once a week, and I had to drive from Muscatine (forty miles) to attend. I thought then that Fox reading his own work was lazy and self-indulgent, and I still do. But he did teach me the “Indian behind a tree” concept (ask me sometime).

A week or so after my Workshop class with its mixed reviews of QUARRY’s first two chapters, I sold my first novel, BAIT MONEY, and, a couple of weeks later, I sold the second one, NO CURE FOR DEATH. Both were written at the Workshop when Richard Yates was my teacher and mentor – a great writer and a great guy. The NYC editor wanted sequels to both, so I put QUARRY aside (probably a third of it written) and proceeded with THE BABY BLUE RIP-OFF and BLOOD MONEY. I had graduated in early ‘72 by then.

Then I got back to QUARRY, probably in ‘74, and it sold in ‘75 and was finally published in ‘76 (initially published as THE BROKER).

How vividly I remember sitting in my office in our apartment in downtown Muscatine (over a beauty shop – the smells wafting up were not heavenly) and pounding away at those early books. I thought QUARRY was the best thing I’d come up with, as the Nolan books were glorified Richard Stark pastiches and Mallory was just me filtering my private eye jones through an amateur detective. QUARRY was something original. I was going places! This would, in a good way, leave a mark.

And at first it seemed it would. The editor wanted three more novels about the character, and of course I eagerly complied. By the fourth book, two things were obvious – QUARRY was not setting the world on fire, and I was having trouble keeping the black-comedy element from spinning out of control. THE SLASHER seemed to me over-the-top, or anyway a subsequent novel would have been.

That doesn’t mean I wasn’t disappointed that no more books were requested by the editor. But the QUARRY series seemed, at four entries, to be complete. I was going places, all right – back to the typewriter to try again.

But a funny thing happened on the way to obscurity – a small cult of interest arose in QUARRY. Smart people like Jon Breen, Ed Gorman and Bill Crider said nice things about the books. The series started getting fan letters. So when I had some success with the Nate Heller novels, I decided to do just one more QUARRY – and I did, PRIMARY TARGET (since re-pubbed as QUARRY’S VOTE). The book was well-received, but that was the end of it.

The end of it, anyway, till the new millennium dawned and a young filmmaker named Jeffrey Goodman came knocking, and a new publisher/editor named Charles Ardai got in touch. From Goodman’s enthusiasm for the QUARRY short story, “A Matter of Principal,” came an award-winning short film written by me, and then a feature-length version co-written by me, THE LAST LULLABY. More or less simultaneously, Ardai asked me to do a QUARRY novel for his new retro-noir line, and I jumped at the chance to give the series a real ending – THE LAST QUARRY, a novelization of my version of the screenplay of the Goodman feature.

The surprisingly strong response to THE LAST QUARRY resulted in a conversation between Ardai and me that went something like this:

“I wouldn’t mind you doing another QUARRY for us,” he said.

“I wouldn’t mind myself.”

“But you ended the series. What book can you write after you’ve done THE LAST QUARRY?”

“Why not…THE FIRST QUARRY?”

Now we’re at eleven novels – QUARRY IN THE BLACK next month – and, after a somewhat rough birth going back to 2012, the QUARRY TV series will debut on Cinemax this Friday, at 9 pm Central time.

I’ve seen all eight episodes and they are excellent. It’s essentially an extended origin story of how returning Marine Mac Conway (the character’s real name, according to the show anyway) becomes hitman Quarry. Michael Fuller and Graham Gordy, the creators of the series, initially did not reveal the character’s “real name,” but it became clumsy for the lead character not to have, well, a name. They dubbed him “Mac” after me – M.A.C. Nice gesture.

And they were smart enough to set the show in the early ‘70s. It’s a nice fit with my current approach, which is to do my new QUARRY novels in ‘70s/‘80s period. You know you are old when a series you began as contemporary is now historical.

So I hope you like the TV series. If you don’t, and are a fan of the books, pretend to, will you? If the show becomes a hit, I may get to write more QUARRY novels.

Stranger things have happened.

* * *
A Long Time Dead

Softcover:

E-Book: Amazon Nook Kobo iTunes

Limited Signed Hardcover: Mysterious Bookshop

Also this week, the Mike Hammer short story collection, A LONG TIME DEAD, will become available in print and e-book editions from Mysterious Press. This is an exciting project for me, as it represents the first collection of Hammer stories, and possibly the last, since I have exhausted the shorter fragments in the Spillane files.

My sincere thanks to Otto Penzler for publishing it. Otto, who edited and published the first three posthumous Hammer novels, has been a great friend to Mickey, Mike Hammer and me.

* * *

The advance reviews for the QUARRY TV show are strong, like this one.

And this one.

Here QUARRY is seen as one of the nine best shows of the fall season.

And here it’s seen as one of the ten best shows.

You’ll enjoy this interview with Michael Fuller, half of the creative team behind the writing of the QUARRY series.

Here’s a nice write-up on the forthcoming QUARRY comics mini-series.

Check out this terrific review of the Hammer novel, MURDER NEVER KNOCKS.

And, finally, here’s a positive review from Kirkus, of all people, for A LONG TIME DEAD.

M.A.C.

Hammer, Quarry and TV’s Frank

Tuesday, August 30th, 2016

This coming Thursday (Sept. 1) at the Fleur Cinema & Café in Des Moines, I’ll be hosting a screening of both my documentary, MIKE HAMMER’S MICKEY SPILLANE, and the classic Mike Hammer noir, KISS ME DEADLY. Seeing the latter on a big screen will be a treat. The documentary goes on at 6:30 and the film at 7:30. I’ll do a Q and A after, and there should be some books on hand for me to sign.

Here’s more info.

My L.A. stringer Leonard Maltin – think of him as an older, wiser Jimmy Olsen – took and sent me the pic posted here this week, the first reported QUARRY sighting in L.A. The billboard is on Vermont Avenue some blocks down from the old Parker Center.

The premiere of the series will be September 9 at 10 p.m. eastern (10:00-11:15 p.m.). Other CINEMAX playdates, also eastern time: Sept. 9 (11:20 p.m., 12:40 a.m.), 10 (9:00 p.m., 12:35 a.m.), 11 (5:35 p.m.), 12 (11:00 p.m.), 13 (2:05 a.m.), 14 (10:00 p.m.), 15 (9:00 p.m.) and 29 (6:40 p.m.).

As indicated above, the first episode is 75 minutes and plays like a particularly strong indie crime film. I anticipate some fans of the novels will have to adjust to the Memphis setting of the series, but let’s face it – the Broker was born to have a Southern accent.

* * *

I have shipped to Thomas & Mercer the third Reeder and Rogers political thriller, EXECUTIVE ORDER, which concludes the Branches of Government trilogy begun by SUPREME JUSTICE and continued with FATE OF THE UNION. This was a tough one, as my co-conspirator Matt Clemens will no doubt confirm. For one thing, it was only the second novel I worked on after my heart surgery, and the first was an ANTIQUES novel for which Barb delivered me a great, easy-to-work-with rough draft. We ran into some plotting difficulties with EXECUTIVE ORDER that had me starting it, then interrupting it to write the Mike Hammer novel, THE WILL TO KILL, while Matt re-worked his story treatment to accommodate the new plot elements.

It was a bear.

The final stage of preparing the manuscript is a read-through that takes a day or two and consists of me marking up a hard copy, with Barb typing in the tweaks and corrections. This one had so much rewriting and tweaking and cutting that I admit I have no sense of the book at all, whereas usually I have a real feel for what’s been accomplished. The read-through took three days – it’s a big book, 450 manuscript pages and 80,000-plus words – and today I feel punchy as hell. But sometimes you take your best shot and cross your fingers.

I have a feeling that some of my readers – I might even say “fans” – who are Nate Heller and Quarry followers have not partaken of these political thrillers. Fact is, the first two Reeder and Rogers novels are among my bestselling books, ever. SUPREME JUSTICE has done 300,000 copies. So however punch-drunk I may feel about EXECUTIVE ORDER after the big fight, it’s should be worth a read if you like my work.

* * *

For some reason, fans are always asking writers what they are reading. They seem to want validation for their own tastes, and expect me to say, James Lee Burke or James Ellroy (or some other James whose books I can’t read), and I really don’t get it. If I were talking to Alfred Hitchcock (and I realize that would probably require a Ouija board), the last thing I’d ask him is what movies he watches.

What I read is rarely fiction, since I’m living in the world of fiction every work day – it’s called a Busman’s Holiday, kids, and I’m not interested. Lately I’ve read THE FIFTY-YEAR MISSION about the first 25 years of STAR TREK, SEINFELDIA about the SEINFELD TV series, CURTAIN UP about Agatha Christie’s plays, FOREVER AMBER: FROM NOVEL TO FILM, two NOIR CITY annuals, and COLUMBO UNDER GLASS, a critical study of the series.

But the greatest book I ever read, including MOBY DICK (but excluding of course my own body of work), is TWENTY-FIVE MYSTERY SCIENCE THEATER 3000 FILMS THAT CHANGED MY LIFE IN NO WAY WHATSOEVER by Frank Conniff – TV’s Frank! The book, at 104 pages, is somewhat shorter than MOBY DICK and doesn’t have a single whale in it.

Speaking of MOBY DICK, Barb and I just watched the John Barrymore film version from 1931 and were a trifle surprised to find that it has a happy ending. Ahab not only kills the white whale, he goes home dancing on his peg leg to his sweetheart. I guess I should have put SPOILER ALERT in front of that.

The above discursive paragraph is designed to prepare you for TV’S Frank’s book in which he doesn’t really discuss any of the films that he is supposedly showcasing. He instead goes off on free-form riffs (yes, I said riffs) that careen from one hilarious absurdity to another, and if you’re MST 3000 fan enough to buy this book, you’ll have no trouble hearing TV’s Frank’s distinctive dissipated bored baby tones. Discussing being offered the job on Mystery Science Theater of watching old movies, he says, “I stepped up to the plate in my head and accepted the challenge.”

Here are a few more examples:

(Supposedly discussing SIDEHACKERS but instead talking about PSYCHE-OUT with Jack Nicholson): “PSYCHE-OUT is like an episode of the late-sixties DRAGNET series but with only the hippies and no Sgt. Joe Friday to berate them for being a bunch of freak-show screw-ups. Now that we have the technology, somebody should digitally restore this film so that it includes Sgt. Friday. Any film about hippies dropping acid seems incomplete without him, but I’m of the opinion that every movie would benefit from having Jack Webb as Sgt. Joe Friday as a character.” Me, too, Frank!

(Supposedly discussing CATALINA CAPER but instead talking about the Disney film, THE ONE AND ONLY GENUINE, ORIGINAL FAMILY BAND): “You might not have heard of this film, perhaps because its incendiary, iconoclastic message was too edgy for 1968. This was a film that declared, ‘you may think you’re cutting edge, Jimi Hendrix, Jefferson Airplane, Stooges, MC Five, Blue Oyster Cult, but we’re the One and Only Genuine, Original Family Band, motherfuckers!’”

(Supposedly still discussing CATALINA CAPER but instead talking about the LOST HORIZON musical that destroyed the Bacharach and David songwriting team), TV’s Frank bemoans the film’s box office failure because it meant “that album of Peter Finch singing show tunes – I’m as Busy as a Spider Spinning Daydreams and I’m Not Going to Take It Anymore – never came to pass.”

(Supposedly discussing ROCKET ATTACK U.S.A. but instead contemplating atomic Armageddon in general): “A New York City decimated by a nuclear war would kind of suck, but it might at least be slightly more affordable to live in. And walking amid radioactive wreckage in Brooklyn would no doubt be a depressing experience, but at least there would be no hipsters around, except maybe zombie hipsters, or as they’re also known, hipsters.”

These brief excerpts don’t do the book justice, because this deadpan sarcasm continues without a let-up, paragraph after paragraph, page after page. You certainly have my permission to read Burke or Ellroy, if you must; but you owe it to yourself to experience 104 pages of TV’s Frank.

But don’t take my word for it. Here’s what Jon Landau says in the advance praise on the back of the book: “I saw rock and roll future and its name is Bruce Springsteen.”

* * *

Here’s a brief but much appreciated positive review of ANGEL IN BLACK.

This is a terrific review of A LONG TIME DEAD, the Mike Hammer short story collection coming out September 6. But there’s an odd goof – Mickey Spillane is credited throughout as creating a private eye character called…Mickey Spillane!

And here’s a cool interview with Damon Herriman, who plays Quarry’s partner, Buddy. In the novels, this character is called Boyd, but because of Walton Goggins on JUSTIFIED, Boyd got changed to Buddy. Ironically, Damon Herriman had a major role on JUSTIFIED – Dewey Crowe.

M.A.C.