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A Life In The Cinema
Introduction by Stephen King
Afterword by Tobe Hooper
A LIFE IN THE CINEMA is the first book from award-winning filmmaker Mick Garris. It is a collection of eight prickly tales and a screenplay that reach under the skin of real life and reel life to take you places you never realized you wanted to go.
The title story, "A Life in the Cinema" and its sequel, "Starfu**er", are set in the author's hometown of Hollywood, and provide a yellow-jaundiced look at a world you only thought was glamorous.
Not all of the stories are Garris includes tales of a grandmother who is just as loving in death as she was in life, a geriatric trailer park with a randy secret, wistful and impossible love with a twist, the wrong kind of baby-love, and a deathly brush with fame. The book is capped with a screenplay by Garris, as well as "Chocolate", the story it's based on.
So welcome to a dark side of Hollywood you've never seen before...
Afterword by Tobe Hooper
A LIFE IN THE CINEMA is the first book from award-winning filmmaker Mick Garris. It is a collection of eight prickly tales and a screenplay that reach under the skin of real life and reel life to take you places you never realized you wanted to go.
The title story, "A Life in the Cinema" and its sequel, "Starfu**er", are set in the author's hometown of Hollywood, and provide a yellow-jaundiced look at a world you only thought was glamorous.
Not all of the stories are Garris includes tales of a grandmother who is just as loving in death as she was in life, a geriatric trailer park with a randy secret, wistful and impossible love with a twist, the wrong kind of baby-love, and a deathly brush with fame. The book is capped with a screenplay by Garris, as well as "Chocolate", the story it's based on.
So welcome to a dark side of Hollywood you've never seen before...
358 pages, Hardcover
First published October 3, 2000
About the author
Mick Garris
44 books59 followersMick Garris is a producer, director, screenwriter and novelist specializing in the horror genre. He has had his hand in dozens of films and television shows, published several works of fiction, and is perhaps best known for his long and fruitful association with author Stephen King.
Garris was born in Santa Monica, California, and grew up in the San Fernando Valley. He began making home movies at the age of 12 and started working as a freelance film and music journalist while still in his teens. An avid musician, he was the lead singer of the band Horsefeathers until its demise in 1977.
Garris’ first job in the film industry was doing publicity for Avco-Embassy Pictures, where he produced “behind the scenes” documentaries for numerous genre films. This led to a stint as the host of THE FANTASY FILM FESTIVAL, a TV talk show airing on L.A.’s legendary Z Channel, in which Garris interviewed many high-profile actors and filmmakers.
His big break came when he was hired by Steven Spielberg to serve as a writer and story editor on AMAZING STORIES (1985). Spielberg asked Mick to direct an episode based on one of this stories, and he has been writing, producing, and directing ever since. This led to more work as a director on FREDDY’S NIGHTMARES (1988) and TALES FROM THE CRYPT (1989), and as the co-creator of SHE-WOLF OF LONDON (1990-91). During this period, Garris also co-wrote the screenplays for *BATTERIES NOT INCLUDED (1987), THE FLY II (1989) and HOCUS POCUS (1993).
His first feature film as a director was CRITTERS 2 (1988), followed by PSYCHO IV: THE BEGINNING (1990). In 1992, Garris began his association with Stephen King when he was selected to direct the author’s original screenplay for SLEEPWALKERS. Pleased with the results, King chose Garris to helm the epic mini-series based his novel, THE STAND (1994), which went on to become one of history’s most highly-rated television shows.
Garris and King followed up with a three-part TV adaptation of THE SHINING in 1997. Garris went on to direct QUICKSILVER HIGHWAY (1997), based on two stories by King and Clive Barker, VIRTUAL OBSESSION (1998), THE JUDGE (2001) and LOST IN OZ (2002). He and Stephen King reunited for RIDING THE BULLET (2004) and DESPERATION (2006).
In 2005, Garris created the Showtime anthology series MASTERS OF HORROR (2005-06), which featured contributions by him and other leading filmmakers specializing in the horror genre, including John Carpenter, Joe Dante and John Landis. A spinoff anthology series followed: FEAR ITSELF (2008-09).
In 2011, Garris published his first novel: Development Hell. This was preceded by the short story collection, A Life in Cinema (2002), and followed by the novellas Snow Shadows (2013) and Tyler’s Third Act (2013). His new novel, Salome, and another novella, Ugly, will be released in 2014.
Garris returned to his roots as the Creator and Host of POST MORTEM (2010-11), a genre-themed talk show airing on FearNetHD. Recently, he produced and directed another mini-series adaptation of a Stephen King novel, BAG OF BONES (2011), and served as Executive Producer of the feature film UNBROKEN (2014), directed by Angelina Jolie.
He has directed episodes of PRETTY LITTLE LIARS and its spinoff, RAVENSWOOD, and WITCHES OF EAST END, and currently has several series and features in development.
www.facebook.com/mick.garris
Garris was born in Santa Monica, California, and grew up in the San Fernando Valley. He began making home movies at the age of 12 and started working as a freelance film and music journalist while still in his teens. An avid musician, he was the lead singer of the band Horsefeathers until its demise in 1977.
Garris’ first job in the film industry was doing publicity for Avco-Embassy Pictures, where he produced “behind the scenes” documentaries for numerous genre films. This led to a stint as the host of THE FANTASY FILM FESTIVAL, a TV talk show airing on L.A.’s legendary Z Channel, in which Garris interviewed many high-profile actors and filmmakers.
His big break came when he was hired by Steven Spielberg to serve as a writer and story editor on AMAZING STORIES (1985). Spielberg asked Mick to direct an episode based on one of this stories, and he has been writing, producing, and directing ever since. This led to more work as a director on FREDDY’S NIGHTMARES (1988) and TALES FROM THE CRYPT (1989), and as the co-creator of SHE-WOLF OF LONDON (1990-91). During this period, Garris also co-wrote the screenplays for *BATTERIES NOT INCLUDED (1987), THE FLY II (1989) and HOCUS POCUS (1993).
His first feature film as a director was CRITTERS 2 (1988), followed by PSYCHO IV: THE BEGINNING (1990). In 1992, Garris began his association with Stephen King when he was selected to direct the author’s original screenplay for SLEEPWALKERS. Pleased with the results, King chose Garris to helm the epic mini-series based his novel, THE STAND (1994), which went on to become one of history’s most highly-rated television shows.
Garris and King followed up with a three-part TV adaptation of THE SHINING in 1997. Garris went on to direct QUICKSILVER HIGHWAY (1997), based on two stories by King and Clive Barker, VIRTUAL OBSESSION (1998), THE JUDGE (2001) and LOST IN OZ (2002). He and Stephen King reunited for RIDING THE BULLET (2004) and DESPERATION (2006).
In 2005, Garris created the Showtime anthology series MASTERS OF HORROR (2005-06), which featured contributions by him and other leading filmmakers specializing in the horror genre, including John Carpenter, Joe Dante and John Landis. A spinoff anthology series followed: FEAR ITSELF (2008-09).
In 2011, Garris published his first novel: Development Hell. This was preceded by the short story collection, A Life in Cinema (2002), and followed by the novellas Snow Shadows (2013) and Tyler’s Third Act (2013). His new novel, Salome, and another novella, Ugly, will be released in 2014.
Garris returned to his roots as the Creator and Host of POST MORTEM (2010-11), a genre-themed talk show airing on FearNetHD. Recently, he produced and directed another mini-series adaptation of a Stephen King novel, BAG OF BONES (2011), and served as Executive Producer of the feature film UNBROKEN (2014), directed by Angelina Jolie.
He has directed episodes of PRETTY LITTLE LIARS and its spinoff, RAVENSWOOD, and WITCHES OF EAST END, and currently has several series and features in development.
www.facebook.com/mick.garris
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Displaying 1 - 8 of 8 reviews
August 6, 2013
LIFE IN THE CINEMA is a short story collection from noted horror movie director Mick Garris. Garris is surprisingly gifted at writing prose--on par with some modern day greats--but these stories mostly fell flat for me. They tend towards being incredibly gruesome and unpleasant rather than scary. The best two of the bunch can also be found as the opening chapters of his novel, DEVELOPMENT HELL. What makes those particular stories so good is that they feature a movie director protagonist, enabling Garris to write what he knows. Third on my list is a little story called "Chocolate," which was later adapted as an episode of the TV show MASTERS OF HORROR. Great concept, forgettable execution. As far as the rest of the stories go, I'm ambivalent. They're worth reading strictly for the writing craftsmanship, but I found them overly dull and preposterous in a wanna-be artsy kind of way. Several times, Garris gets carried away with all the sex and gore--even to a hardened horror junkie like myself. (Unless, of course, the only reason you picked up this book was for the potential shock value.) Seriously, I don't think Garris introduces a single female character without giving readers a description of her nipples. Even when said character is the protagonist's grandmother.
March 12, 2020
I just listened to the brand new Encyclopocalypse Publications audiobook edition of this book, and I loved it. Most of us know Mick Garris as a writer/director of film (particularly the 1994 television adaptation of Stephen King's THE STAND). This volume proves he's also a talented author.
Sex and violence and camera rolls dominate the short horror stories that comprise this collection. Most of the stories predate the turn of the millenium (and it shows in some places), but they remain as enjoyable now as they no doubt were upon initial publication. Of all the stories, my favorite was "Forever Gramma," which appears late in the book. "Baby Shower," "Starfucker," and "Joy" also stood out to me. Garris' work is juicy--gooey, even--and full of flawed or fallible characters horror fans can embrace.
The audiobook features narrations by Garris himself, Joe Lansdale, Steven Weber, and the late Miguel Ferrer, whose familiar pleasing baritone was wonderful to hear again. Encyclopocalypse has performed wonderfully in bringing these stories together. It was an easy listen. I managed all five+ hours in a single sitting. My one wish is that Lansdale could have been the narrator on "Forever Gramma." This is not a criticism. Garris does a wonderful job reading this work. I just think Lansdale's gruff voice fits that particular story's narrator.
I'm looking forward to reading more of Garris' stories in his upcoming Fangoria anthology release.
Sex and violence and camera rolls dominate the short horror stories that comprise this collection. Most of the stories predate the turn of the millenium (and it shows in some places), but they remain as enjoyable now as they no doubt were upon initial publication. Of all the stories, my favorite was "Forever Gramma," which appears late in the book. "Baby Shower," "Starfucker," and "Joy" also stood out to me. Garris' work is juicy--gooey, even--and full of flawed or fallible characters horror fans can embrace.
The audiobook features narrations by Garris himself, Joe Lansdale, Steven Weber, and the late Miguel Ferrer, whose familiar pleasing baritone was wonderful to hear again. Encyclopocalypse has performed wonderfully in bringing these stories together. It was an easy listen. I managed all five+ hours in a single sitting. My one wish is that Lansdale could have been the narrator on "Forever Gramma." This is not a criticism. Garris does a wonderful job reading this work. I just think Lansdale's gruff voice fits that particular story's narrator.
I'm looking forward to reading more of Garris' stories in his upcoming Fangoria anthology release.
January 12, 2024
Книга с названием Life in Cinema от режиссёра Мика Гарриса, представлялась мне биографией, хоть и было не очень понятно, что о профессии расскажет человек, пиком карьеры которого стала телеверсия "Сияния".
Оказалось, что это неловкий хоррор-сборник, представляющий собой посредственное копирование Кинга ( который, как оказалось, его кореш), удивляющий разве что подростковым уровнем озабоченности, который демонстрирует этот товарищ пенсионного возраста. Лишь заглавный рассказ про режиссёра-неудачника, совершающего камбэк, представляет хоть какой-то интерес, и не сколько историей или хоррор-элементами, сколько циничным и озлобленным взглядом на индустрию человека, не добившегося в профессии.
Оказалось, что это неловкий хоррор-сборник, представляющий собой посредственное копирование Кинга ( который, как оказалось, его кореш), удивляющий разве что подростковым уровнем озабоченности, который демонстрирует этот товарищ пенсионного возраста. Лишь заглавный рассказ про режиссёра-неудачника, совершающего камбэк, представляет хоть какой-то интерес, и не сколько историей или хоррор-элементами, сколько циничным и озлобленным взглядом на индустрию человека, не добившегося в профессии.
June 5, 2022
Mick Garris is a figure who I have so much admiration for as a horror icon. In many ways, he is the shaper and chronicler of horror cinema. His early interviews with directors, making of features, and Masters of Horror dinner and later TV Show have (for better and for worse) shaped the modern course of horror. He’s also been behind some truly wonderful projects. His work on the Stand is iconic, The Shining is grossly underrated, Riding the Bullet is his masterpiece, and Hocus Pocus practically defines Halloween for a certain generation.
He’s definitely earned the right to the title “Master of Horror”, but this collection is just downright mediocre. There are eight short stories presented here, and a feature length screenplay, and they are as follows:
A Life in the Cinema
This is a really good tone setter for the book as all the best and worst qualities of Garris as a writer are here. The first person, quick paced, style makes the piece easy to read, even if the writing is somewhat simplistic, and Garris pulls no punches even when the punches are pretty limp wristed. Still, this is one of the more affecting stories in the collection.
3/5
Joy
This story has one of the most ridiculous set pieces I’ve ever read in the middle, a flashback to a preposterous accident that happened years ago, and something laughable that is treated with the utmost sincerity. The ending is somewhat horrific, but the story just felt DOA for me.
2/5
Baby Shower
This is one of the stories that Garris finally has something to ground himself. Although, I am beginning to notice a trend where Garris devotes pages and pages to setting up the character and then rushing through the plot in a few paragraphs right at the end, rather than integrating the two. Still the writing is strongest here so far.
3/5
Dream on Me
I don’t know, this one just confused me. I’m also noticing Garris is obsessed with dreams and sex, and he writes both in confusing manner. A concept like “dream on me” needs either a book to explore so we can see it and figure it out ourselves or just a direct explanation. This story is too short to really get what’s going on, and by the time you do it’s over, but it doesn’t make me want to reread it again.
2/5
His Insignificant Life and Very Important Death
Now this is what should have opened the story collection. All of Garris’s strength as a writer is on display, his sensitivity to character, the sexual frustration, and his cruel eye for unsuspecting and inexplicable tragedy. The story feels much like life can, beginning with bright promise before hitting a depressive rut, and then a chaotic end. If every story were this good, I’d be raving about this collection.
4/5
Forever Gramma
This story tries way too hard to have a style and subsequently has none. If you can’t see where this story is going, I don’t know what to tell you other than you never read a book before. This might be my least favorite story in his little there is going for it.
2/5
Starfucker
A sequel to “A Life in the Cinema” this story reunites us with the narrator from that story on his comeback after the travesty that happened on the set of his last movie. This really has literally nothing to do with that story, and instead decides to be a horror rift on L.A. Confidential, but is also a pretty solid story altogether. I actually think it being a direct sequel to the other story hurts it more than helps it.
3/5
Chocolate
Ok, now here’s a story I need to do a deep dive on because this story is key to understanding Mick Garris. He’s gone on record saying this story came from a dream he had. Obviously, this dream must’ve been an overpowering experience for Garris because he wrote this short story, then tried to adapt it into a feature, and eventually turned it into an episode of Masters of Horror. There are elements of this story throughout the book.
The dreams affecting reality is from “Dream on Me”, the odd sexuality is a hallmark of the books, and the incongruous detailing with big words to make it seem better written.
What I can’t understand is why this story is the one that Garris made his white whale. He often cites Richard Matheson that books are internal and films are external. There is no more internal story than Chocolate in this whole collection. More so than any of the ones in first person, this is a POV story and translating it to film does nothing to elevate the story.
Beyond that, this is just a weak story. A guy develops a random psychic ability to see through other’s POV when he dreams, to feel their pleasure and their pain. He becomes obsessed with the woman he constantly inhabits, and that’s about it. He’s a voyeur for someone he doesn’t know, but nothing that interesting happens to this woman before the very end.
While it barely counts as a story, more of a concept, it’s not a terrible story. None of these are terrible stories, but it is a closing piece that doesn’t inspire me to read more and honestly dragged this collection to a close. What’s worse, is that it’s not over yet.
2.5/5
Flesh & Fantasy
As I said, “Chocolate” is the short story that Mick Garris became obsessed with, seemingly convinced it is his magnum opus. What I will say about Flesh & Fantasy (as my feelings are similar to the short story) is that Garris finds more of a story to tell in this long form screenplay. It’s understandable why he’s more noted as a screenwriter than a prose writer. I still don’t think this idea is that compelling, but the script works.
He eventually would turn it into an episode of his TV Show “Masters of Horror”, which was essentially this script but shorter and it turned out ok.
3.5/5
All together, I don’t think I would have stuck with this collection if I didn’t already have an interest in Garris as a creator. If I just picked this up at a bookstore randomly, I’d probably have been a lot more disappointed than I was. Garris isn’t a bad writer, but I think his talents are better suited for longer pieces and screenplays.
He’s definitely earned the right to the title “Master of Horror”, but this collection is just downright mediocre. There are eight short stories presented here, and a feature length screenplay, and they are as follows:
A Life in the Cinema
This is a really good tone setter for the book as all the best and worst qualities of Garris as a writer are here. The first person, quick paced, style makes the piece easy to read, even if the writing is somewhat simplistic, and Garris pulls no punches even when the punches are pretty limp wristed. Still, this is one of the more affecting stories in the collection.
3/5
Joy
This story has one of the most ridiculous set pieces I’ve ever read in the middle, a flashback to a preposterous accident that happened years ago, and something laughable that is treated with the utmost sincerity. The ending is somewhat horrific, but the story just felt DOA for me.
2/5
Baby Shower
This is one of the stories that Garris finally has something to ground himself. Although, I am beginning to notice a trend where Garris devotes pages and pages to setting up the character and then rushing through the plot in a few paragraphs right at the end, rather than integrating the two. Still the writing is strongest here so far.
3/5
Dream on Me
I don’t know, this one just confused me. I’m also noticing Garris is obsessed with dreams and sex, and he writes both in confusing manner. A concept like “dream on me” needs either a book to explore so we can see it and figure it out ourselves or just a direct explanation. This story is too short to really get what’s going on, and by the time you do it’s over, but it doesn’t make me want to reread it again.
2/5
His Insignificant Life and Very Important Death
Now this is what should have opened the story collection. All of Garris’s strength as a writer is on display, his sensitivity to character, the sexual frustration, and his cruel eye for unsuspecting and inexplicable tragedy. The story feels much like life can, beginning with bright promise before hitting a depressive rut, and then a chaotic end. If every story were this good, I’d be raving about this collection.
4/5
Forever Gramma
This story tries way too hard to have a style and subsequently has none. If you can’t see where this story is going, I don’t know what to tell you other than you never read a book before. This might be my least favorite story in his little there is going for it.
2/5
Starfucker
A sequel to “A Life in the Cinema” this story reunites us with the narrator from that story on his comeback after the travesty that happened on the set of his last movie. This really has literally nothing to do with that story, and instead decides to be a horror rift on L.A. Confidential, but is also a pretty solid story altogether. I actually think it being a direct sequel to the other story hurts it more than helps it.
3/5
Chocolate
Ok, now here’s a story I need to do a deep dive on because this story is key to understanding Mick Garris. He’s gone on record saying this story came from a dream he had. Obviously, this dream must’ve been an overpowering experience for Garris because he wrote this short story, then tried to adapt it into a feature, and eventually turned it into an episode of Masters of Horror. There are elements of this story throughout the book.
The dreams affecting reality is from “Dream on Me”, the odd sexuality is a hallmark of the books, and the incongruous detailing with big words to make it seem better written.
What I can’t understand is why this story is the one that Garris made his white whale. He often cites Richard Matheson that books are internal and films are external. There is no more internal story than Chocolate in this whole collection. More so than any of the ones in first person, this is a POV story and translating it to film does nothing to elevate the story.
Beyond that, this is just a weak story. A guy develops a random psychic ability to see through other’s POV when he dreams, to feel their pleasure and their pain. He becomes obsessed with the woman he constantly inhabits, and that’s about it. He’s a voyeur for someone he doesn’t know, but nothing that interesting happens to this woman before the very end.
While it barely counts as a story, more of a concept, it’s not a terrible story. None of these are terrible stories, but it is a closing piece that doesn’t inspire me to read more and honestly dragged this collection to a close. What’s worse, is that it’s not over yet.
2.5/5
Flesh & Fantasy
As I said, “Chocolate” is the short story that Mick Garris became obsessed with, seemingly convinced it is his magnum opus. What I will say about Flesh & Fantasy (as my feelings are similar to the short story) is that Garris finds more of a story to tell in this long form screenplay. It’s understandable why he’s more noted as a screenwriter than a prose writer. I still don’t think this idea is that compelling, but the script works.
He eventually would turn it into an episode of his TV Show “Masters of Horror”, which was essentially this script but shorter and it turned out ok.
3.5/5
All together, I don’t think I would have stuck with this collection if I didn’t already have an interest in Garris as a creator. If I just picked this up at a bookstore randomly, I’d probably have been a lot more disappointed than I was. Garris isn’t a bad writer, but I think his talents are better suited for longer pieces and screenplays.
April 2, 2020
I listened to the audiobook version of this book, and I’m glad I did, because Steven Weber’s reading of the short stories A LIFE IN THE CINEMA and STARFUCKER are incredible. Weber breathes real sleaze and acid and romance into the character at the centre of both stories - a cynical Hollywood director who seems to love and hate the industry town where he makes his living. These stories trawl the strange bowels of Hollywood, and they’re both delicious.
Want to Read
July 20, 2011Stephen King introduction.
July 12, 2025
Well, this could been good but Garris is the worse, so...
December 9, 2012
Interesting but uneven.
Displaying 1 - 8 of 8 reviews