Volume 3 of Pulp 2.0’s Cinexploits series focuses on this low-fi sci-fi Cult Favorite from Glass Eye Pix
AUTOMATONS: The Book of the Movie, edited by Pulp 2.0 founder Bill Cunningham, is available now on Amazon.
The book takes a look behind the scenes at the making of the 2005 Glass Eye Pix production of AUTOMATONS, written and directed by James Felix McKenney (HYPOTHERMIA, SATAN HATES YOU) and produced by Larry Fessenden through his long-standing New York based production shingle Glass Eye Pix (THE HOUSE OF THE DEVIL, STAKE LAND, THE RANGER, DEPRAVED).
AUTOMATONS stars then-newcomer Christine Spencer (SATAN HATES YOU) alongside veteran genre actor Angus Scrimm (PHANTASM) in a low-fi sci-fi experiment about war, robots and the end of humanity — all captured on glorious black-and-white, super-8mm film.
After dozens of festival screenings, rave reviews from critics, and theatrical runs in New York and Chicago, AUTOMATONS was released on DVD in 2007 by Facets Multimedia.
Pulp 2.0 now reintroduces this movie to genre-addicts on its 13th anniversary. Join author Bill Cunningham as he takes a deep-dive into this bespoke feverish piece of pulp cinema.
Included in the book:
• The complete AUTOMATONS screenplay
• Interviews with the cast & crew
• Interview with the director, James Felix McKenney
• Behind-the-scenes photos and sketches
• Tributes to AUTOMATONS actors Angus Scrimm (PHANTASM) and John Levene (DOCTOR WHO)
• Introduction by Max Brooks author of THE ZOMBIE SURVIVAL GUIDE and WORLD WAR Z
AUTOMATONS is currently being rescanned in HD from the original 8mm film and remastered by director James Felix McKenney for a proposed home video 2020 rerelease.
AUTOMATONS: The Book of the Movie is available now on Amazon:
https://www.amazon.com/dp/1713297361
Pick yours up today and see how humanity dies!
“AUTOMATONS is what happens when ERASERHEAD and TETSUO THE IRON MAN bong
themselves into oblivion... Robot radness achieved!
— Nathan Lee, VILLAGE VOICE
“...the movie’s loving attention to light and shade transcends its hermetic setting and meager
budget. At times the buzzing static and fizzy backlighting recall the glistening surrealism of
the filmmaker Guy Maddin…"
— Jeannette Catsoulis, NEW YORK TIMES
“It’s not a film of compromise but of sheer determination, refusing to be defined by its budget
and liberated by a decision to overcome its bank account with sheer imagination.” — S. James Snyder, NEW YORK SUN
