September 23, 2013


New episodes now available for download
at the TALES Online Store

September 23, 2013

“New jumps, new chills. New horrors, new thrills…Each one is careful and sinful
all in its own way.”

From Charlie J.J. Kruger at

“I remember Tales From The Darkside. I remember Tales From The Crypt. I remember the re-done Twilight Zone and Outer Limits shows. I remember all of the Simpsons Treehouse Halloween episodes. I remember and I miss these things. Once a year we get a new Simpsons Halloween episode, a few years ago we had Masters of Horror and Fear Itself… but now… Horror Compilations are a thing to love and respect. Weekly (or monthly, or yearly, or whenever they damn-well feel like it) stories about whatever tickles an author, all compiled and assembled into a structure, a form… I love it. I love these ‘get a taste’ samplers because I can learn about so many new writers, so many new actors, so many new directors… so much new horror.

Tales From The Pale is another name I can add to that list. I can chalk it up with these greats, but also with the old radio serials I remember my grandfather and father talking about. Serials like The Shadow.

In this new second season of the podcast/radio show, we get a few new stories by a few seasoned authors. New jumps, new chills. New horrors, new thrills. They have sound effects, thrown voices, characters, settings, and depth. They don’t fall into the ‘this is a novelty, so I wont try all that hard’ category. Each story is a detailed and loving creation. Each one is careful and sinful all in its own way. Each one is very, very real… in a manner of speaking.

A standout for me, one that I actually listened to twice, back to back out of enjoyment was episode 8, Caper. I loved the grit, the drama, the cold realism in the strangeness. I loved the voice work, and the light, but authentic sounding noises and backgrounds helped to paint a vivid picture.

It was refreshing to HEAR such wonderful horror. Movies have the ability to go overboard and show toooooo much, and not let you imagine anything, where as books can sometimes leave a bit too much to the mind (if the author isn’t painting pictures with their words), but this radio-drama was able to play in both fields. Carefully.

I am excited to hear what else comes from this show. I now have to set out to gather up the first seasons episodes, seeing as I have missed them, and I am now eagerly awaiting season 3.”

September 19, 2013

Dread Central Exclusive Interview with Glenn McQuaid and Larry Fessenden


“As of this past Friday the 13th, Season 2 of “Tales from Beyond the Pale,” the inventive radio drama horror series from Glass Eye Pix founder Larry Fessenden and director Glenn McQuaid, is now available for purchase independently via its online store.

If you were a fan of films like I Sell the Dead, The Innkeepers, The Last Winter (directed by Fessenden) or Stake Land, this is the company that brought you those films. Episodes for the new season were filmed live in New York and feature Vincent D’Onofrio, Sean Young, James LeGros and Fessenden himself – a fantastic character actor in his own right. The finished product is a classy, performance-driven version of “Tales From the Crypt” that’s reminiscent of the Old Time Radio shows featuring Boris Karloff, Bela Lugosi, and Vincent Price.

Speaking with both Larry and Glenn, it’s apparent how much effort and creativity the two have put into this production along with everyone else involved from the actors to the designers.

Dread Central: I remember working on Fangoria Radio a few years ago and we kind of had a Glass Eye Pix night with Debbie Rochon and Dee Snider on the air and I think we played a good chunk of Graham Reznick’s radio play. I don’t know if you guys remember that but I was wondering if he was instrumental in getting this up and running since he was already doing something like this.

Glenn McQuaid: Basically, the idea sort of came out of the desire to get more content out there from ourselves and all of our collaborators without having to jump through all the hoops you need to get a movie made. In that respect, “Tales” grew from an idea to just get more out there. Having said that, just having Graham in our company I think probably, in the back of our minds, opened our eyes and our ears to the possibilities of audio. I worked with Graham on a couple projects and he’s actually quite the audio genius so, as I mentioned, having him there we felt he could come in and really put his touch on the work and I was really happy we could get Graham to write his own “Tales from Beyond the Pale,” “The Grandfather,” with Angus Scrimm and so on. I think that’s actually one of my favorites from Season 1.

DC: And every new episode was recorded live here in New York City, correct?

GM: Yeah, we went ahead and we just recorded live and we were pretty pleased with what we’d done with Season 1 and it was new ground for us. So as we moved forward, we wanted to keep that kind of goal to sort of be breaking new ground with ourselves. The opportunity came up with Clay McLeod Chapman that we could all get together and present the tales live. Very quickly we felt that this would be a great way to kind of keep on our toes with the “Tales from Beyond the Pale” project. I haven’t done theatre since I’ve been sixteen years of age so bringing all of what we had done onto stage and really pulling back the curtain to a live audience was really cool.

Larry Fessenden: It was fun for me because, you know, Dixon Place – I used to perform there in the ‘80s. It’s in a different location but the woman who runs the joint was always an advocator of performance art, so it was kind of two worlds converging for me: the new world of Glass Eye Pix as a film company and then my old roots in the New York performance scene. It had a great energy, I think – that quality. The actors that were involved – people like Sean Young and Mark Margolis and James LeGros and Vincent D’Onofrio – I think they couldn’t help but appreciate a little slice of the authenticity of the New York underground. So, it was kind of a melding of different vibes, I think.

DC: Well, from being from that stage background, have you guys ever thought about doing a classic radio play like “War of the Worlds” or “The Shadow” or even “The Mist” and putting your own spin on it?

LF: I love that you mention “The Mist” of all things. Has that been a radio play? Because that’s my favorite movie in recent years.

DC: It’s the one that William Sadler did. It’s an amazing 3D audio CD and I really love it.

LF: Oh cool, man. I love the idea of tackling a classic like Dracula or Jekyll and Hyde. Even more than the radio classics, that seems appealing.

GM: We had the conversation before and I’m of two minds about it. I really do respect our original goal of “Tales from Beyond the Pale” which was to get new content out there from ourselves and all of our colleagues. I’m really proud and truly really enjoy collaborating with Larry and creating these anthologies. It’s just sort of figuring out what’s missing from the new season; maybe we need a monster here or an old ghost story there. I really like the fact that “Tales from Beyond the Pale” is contemporary and not really harkening back to the early days of the format which I think a lot of people do. But, of course, having said that, I would love to do Dracula! And I think we would do an awesome Dracula. What do you think Renfield?

DC: I think Larry as Dracula would be fucking awesome.

LF: I like it, Drew. Thank you.

DC: What’s the first memory that both of you have being scared? Was it a film? Was it a bedtime story? Or was it a noise?

LF: Well, I can answer because I always say I was wired this way. People say why do I make horror films and they expect to be delighted by my macabre sensibility but in fact it’s the opposite. I’ve always found life quite scary and ever since I was little I was afraid of the dark. I took all the horror films I saw in the daytime very seriously and at night was convinced that Frankenstein was in the closet and even the truck from Duel was going to come crashing through the wall. I had a friend and his mother told stories around the fireplace in these weekend retreats we used to go on and I was always captivated by, I guess, the dark arts. In a way, that’s what the radio plays do for me is they take me back to that storytelling even more than movies.

GM: Quite early I really hooked onto horror and always found it as an escape and a fantasy in a way. And I would shy away from my real concerns. Honestly, I grew up in Ireland in the ‘70s and ‘80s and I was sure that we were all going to get nuked. It was a great fear of mine. I’d watch things like The Beast With Five Fingers and The Curse of the Werewolf. It pushed this fear in a comfortable way which was really therapeutic for me. The earliest, scariest memories of watching a movie I have is actually watching the title sequence for Curse of the Werewolf and just found it very unnerving. It was just Oliver Reed’s eyes staring back at you for five minutes. It was terrifying.

DC: Jordan Hoffman just wrote a great piece on Badass Digest about The Exorcist and how those certain combinations of sound and image produce these really terrifying results. As a director, you’re kind of saying my imagination is more fucked up than yours but, now, with “Tales from Beyond the Pale” you’re now just providing the catalyst for someone’s imagination to run wild.

LF: That’s so nicely put because I really think that is the idea behind “Tales” is to strip away. We have such a glut of imagery and, furthermore, literal imagery. I would say, as much as one looks forward to the design of the new Godzilla, it’s like there’s just going to be nothing left to the imagination and I think that’s the trend in horror. There’s something about stepping back and inviting the audience to participate as they always used to do. If you look at even films from the ‘80s, let alone years before that, it was a kind of participation. You had to suspend disbelief and become part of the fantasy-making when you watched effects that weren’t perfect but somehow had a spunk and a visceral charm. So, surely, by taking the humans away altogether you’re saying, ‘What do you see when I’m having my characters screaming in agony?’”

Check out the full interview and article at Dread Central.

September 18, 2013

Tales From Beyond The Pale on iTunes Top Audiobooks Chart

What’s America listening to? Opie and Anthony, Rob Lowe, Bill O’Reily and Tales From Beyond The Pale!


All the season 2 episodes of Glass Eye Pix’s acclaimed genre audio series are on the Top Audiobooks Arts & Entertainment Chart in iTunes.

And not only that– Glenn McQuaid’s crime suspense shocker, “The Crush,” and Jeff Buhler’s otherwordly campfire tale, “Stranger,” are in the top 10!

Help get them to the very top spots by downloading them from the iTunes store. Tales From Beyond The Pale is also on Amazon, Audible, and the Tales website.


September 16, 2013

Masters of Horror:
‘Tales from Beyond the Pale’ returns!


“On Friday the 13th, those Masters of Horror, Larry Fessenden and Glenn McQuaid released the second season of their excellent, radio drama series Tales from Beyond the Pale.

Tales… follows in a similar tradition to E.C. Comics Tales from the Crypt, or those wonderful portmanteau horror movies produced by Amicus Productions in 1960s and 1970s, Doctor Terror’s House of Horrors, Torture Garden, The House That Dripped Blood, Asylum and Vault of Horror.

Glenn and Larry were inspired to create Tales… after listening to an old Boris Karloff radio drama during a long, rainy drive along the east of coast of America.

Larry is the brains behind Glass Eye Pix and has been hailed as a latter-day Roger Corman. His long list of films (several award winning) as producer, director and writer, includes Beneath, The Last Winter, Stake Land, and Bitter Feast. So prolific and successful a film-maker, it’s suffice to note that Fessenden was inducted into the Fangoria Hall of Fame in 2011, and was honored as Total Film‘s “Icon of Horror” the same year.

By comparison, Glenn is just starting out, but don’t be fooled, for Irishman McQuaid is the young and impressive talent behind the excellent I Sell the Dead and more recently contributed one of the best segments, “Tuesday the 17th” to the hugely enjoyable compendium horror film V/H/S. Together Fessenden and McQuaid have created a thrilling and superlative radio drama series with Tales From Beyond the Pale

The first season was produced over the winter of 2011, and was made available to download in Fall 2012. What makes Tales… so successful, is the high level of production values Fessenden and McQuaid bring to each drama. As curators they bring together the best writing with the best of acting talent. Writers include Kim Newman, Ashley Thorpe, Joe Maggio, Simon Barrett, Jeff Buhler, and of course, Fessenden and McQuaid themselves. While the tales are performed by Sean Young, Ron Perlman, Vincent D’Onofrio and James Le Gros.


Larry Fessenden and Glenn McQuaid

The first season of Tales… proved such a hit, that Fessenden and McQuaid produced a second series, but this time each drama was recorded live, in front of a studio audience.

Glenn McQuaid: “Last October we had a chance to put on a few new Tales…, and we thought it would be a new challenge to put them on live, as opposed to doing them in the studio. We basically booked this place for a month, where once a week we would put on a double-bill of Tales….

“What made it different, I suppose, was the chance to do it live. We also invited new collaborators into the mix, like Kim Newman, Simon Barrett and Clay Mcleod Chapman. Basically, it was a really great chance to get back in the saddle and get some new content out there.”

Larry Fessenden: “We wanted to pull back the curtain on the process on what is ultimately destined to be audio entertainment. We didn’t hesitate to have the director on-stage, even rushing over to an actor and whispering in the ear, ‘Speed it up a bit,’ or….”

Glenn McQuaid: “…Falling apart!”


Larry Fessenden: “Glenn was helping out the Foley guy [sound FX], and doing footstep sounds. It was a fun thing to watch, because you really got a fun sense of the process.

“Another thing I always say, as an actor you really need to be relating to the microphone, not to your fellow actors, which is the traditional way of performing. In this case, each individual performer is in some way intimate with the sound environment and their microphone. All of this is fun to observe when watching the process unfold, and that was sort of the premiss of the evening.”

Glenn McQuaid: “I think having that much activity happening with various actors, technicians and Foley artists. Once we’re rolling time flew by and the job was a a joy. I was always a nervous wreck prior to each evening, you know, that didn’t get easier. It was a bit of a roller-coaster getting back into theater, which I hadn’t done since I was in my teens. It was an awful lot of fun, and it was good getting into that environment, which gave it an edge.”


Larry Fessenden and Glenn McQuaid recording ‘Tales…’

The new season of Tales from Beyond the Pale includes “Ram King” by Joes Maggio; “Like Father, Like Son” by Clay McLeod Chapman, “Stranger” by Jeff Buhler, “Dead Man’s Shoes” by Ashley Thorpe, “Sarah Minds the Dog” by Kim Newman, “The Crush” by Glenn McQuaid, “Dead Air” by Simon Barrett, and “Caper” by Larry Fessenden.

What makes Tales… successful is the high standard of story-telling involved with each drama. Horror and Sci-Fi fans will appreciate the intelligence at work behind these scripts.

Glenn McQuaid: “When we originally thought of the ideas for Tales…, it was very much Larry that brought this idea to reach out and collaborate with all the colors of the dark.

Larry Fessenden: “Often we go back to our original collaborators and say, ‘Do you have anything that would fit this format?’ We both have new associations, people we’re curious about.

“We always ask for synopsis, and then Glenn and I look at them and think, ‘What makes a good season?’ We don’t want to have four alien stories in a row, it has to do with finding a balance within the different genres that exist.”

Glenn McQuaid: “I think a lot of color has come form Larry and Glass Eye Pix, and the idea of reaching out and collaborating with many different artists, coming from many different walks of life. There’s something very New York about it. I get that with Glass Eye Pix, and I do get it with Tales… as well.”

Larry Fessenden: “I feel the one thing I’m proud of with Tales…, and I think it’s something to do with the way Glenn and I approached the medium, we’re not setting out to make a scary story with traditional scares. It’s not as deliberate as that. We obviously make spooky, off-kilter tales, but I think we encourage the authors to come at us with something that isn’t deliberately sitting in the genre. For example, “Ram King” by Joe Maggio, he wrote “On a ledge” from the last series, you could tell he was writing form the heart about things that preoccupy him, and he just suddenly decided to make a period piece. And I think it’s very odd and very chilling when you finally get to it, but that’s clearly not just the agenda of the story.”

Glenn McQuaid: “One of the final stories we added to the collection was Clay McLeod Chapman’s “Like Father, Like Son.” We felt when we got that in, it added a nice flavor to everything else, and that was important to us. We were looking at a few other story-lines, but that was the one would be the icing on the cake.”


Larry Fessenden: “I think it’s also worth noting that we don’t come to these scripts finished and polished. Glenn and myself spend a lot of time really challenging the writers to tighten or otherwise consider how to make effective audio pieces. It’s always a fun and challenging series because you don’t want to overstep, and you want each artist to be representing themselves in a unique product.”

Glenn McQuaid: “I think everyone that comes in to us with this process has enjoyed it because there’s a difference in that we’re talking to them as fellow artists—probably closer as producers at that stage. I think a lot of our collaborators spend a lot of time shifting around scripts that are bouncing around from one acquisition person to another. We’re free of all of that. We’re more interested in the actual story-telling at the moment.”

Ax part of the story-telling, Fessenden and McQuaid are aware of the importance of the sound, and they ensure each episode is richly layered with Sound FX, which bring an extra dimension to Tales….

Larry Fessenden: “I think we want to remain true to the audio format, and continue to deal an anthology of these spooky stories and keep pushing the envelope with what you can do with sound with these stories.

“Glenn and I think more of doing a series where there’s a continuing story-line, familiar characters—a community of characters—that’s one idea. And, of course, one is always drawn to other media, because with our home base in audio drama there’s potentially television, because what inspired us in the beginning was the audio element because Glenn and I were interested in an anthology and how it could present a series of stories that somehow relate thematically or will compliment each other. So, we’re always exploring, you know, but it’s tough, because we’re also trying to make films.

“In this day and age it’s possible to work in different formats, there’s a cohesion in the end, which we will let the critics sort out.”


Sean Young in Glenn McQuaid’s ‘The Crush.’

Larry Fessenden: “The other thing we try to do is reach out to actors, like Sean Young who’s in Glenn’s show “The Crush” and gives a tour-de-force, she is the femme fatale. Sean is a delightful. Mark Margolis who’s in “Caper” has just an amazing voice. Ironically, he was made most famous recently in a TV show, where he didn’t even speak. It was a treat to get him to talk again. And so many of our old pals from Vincent D’Onofrio to our stable of actors, John Speredakos, and so on, just wonderful guys. We really enjoy that—the core community of people.”

Glenn McQuaid: “I am looking forward to getting these eight tales out there, I think it’s a strong season, and it’s a bit of a balancing act, they are live and I think it’s nice that you are reminded that it’s live—we kept our audience in, we didn’t try to clean-up pieces too much. Also, one of our many goals with Tales… was the opening-up of the environment, really getting people out of their heads.”

While Fessenden and McQuaid have several other projects they are working on, both are keen to continue with Tales…

Glenn McQuaid: “I love the idea of doing a Tales from Beyond the Pale soap opera. We have some great collaborators and great producers, like Lisa Wisely and Jenn Wexler, who are doing a lot of the work behind the scenes, and as we move forward, we’re going to have work out a way to make it viable to keep doing it. But I really, truly believe there will be another season, and the possibility of an on-going series.”

Larry Fessenden: “Part of the reason we’re releasing the second season is that it might brings some eyeballs, or some ears to the first season of Tales from Beyond the Pale. We have a very strong core fans who are loyal, and we want to expand that. We’ll see where that takes us.”

Tales from Beyond the Pale: Season 2 is available to download from the site, or at iTunes and Audible from Friday the thirteenth.”