 This year I was awarded with my first experience at a fully robust film festival. I’ve been to the occasional movie screening or two, but unfortunately have never managed to get to multiple flicks at one particular event. So it is with great excitement that I can relay to you a roundup of the movies I was lucky enough to attend at the 2009 Tribeca Film Festival in New York City.
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 This probably falls in line as a loose continuation of my last entry but not as furor filled. This morning, I had a great conversation on the subway. I was reading THE DARK HORSE BOOK OF WITCHCRAFT when a woman, standing beside me, asked for my attention. I’m terrible with names, which sucks since she was a very sweet lady and wonderful to talk to, but she began asking me about my interest in horror and darkly tinged subject matter and where it originated. Her son, she explained, who is now 11 years old, seems to be heading in that direction and she wasn’t sure how to feel about it.
 I could very much be preaching to the choir here, but I need to have this talk, because more often than not, instances like this really get under my skin. For a long time now, I’ve tried to not let it get to me. People seem to dismiss anything remotely intelligent with ties to the horror genre as being something other than horror. They say it “transcends,” “doesn’t qualify as such” or “is really a very harsh drama.” This is killing me. Normally, I’ll just chalk it up to the fact that they don’t understand, they don’t get it and they refuse to see the art and intellect. But this time really caught me off guard.
 “Give me a bucket of blood and a camera and I’m good to go!” Who is Ace Norton? Someone who truly fits the description of Terrifyingly Gnarly, that’s who. An interesting, immensely talented music video and commercial director, his work warrants your attention—urgently. Norton is currently one of the only people pushing and slowly joining the ranks of legends who have pushed the medium to the potential it could be used for. A bit of his résumé includes: two videos for Bloc Party, one featuring a bizarre plot to run the world by a large horse-headed creature (“Mercury”), the other, a classic man-in-monster-suit fight (“Flux”); a beautifully lensed video for Simian Mobile Disco, featuring incredibly hot girls transforming into creatures and vomiting; and the happily macabre “Why Do You Let Me Stay Here,” for Zooey Deschanel’s band, She & Him.
 Recently, and by recently I’m pretty sure I mean about five months ago, I was perusing the shelves of Strand Bookstore. For non-New Yorkers, Strand is a dusty bookseller filled with an insane amount of literature, all very cheap and discounted from the normal Barnes & Noble/Borders, etc. price. In short, it rules. So while passing one of the many display tables, a novel caught my eye and taught me something I never knew: ROSEMARY’S BABY was a novel (by Ira Levin) before it became the phenomenal film it is. I’m sure I’m behind on that info, so bear with me here. It was $4(!), so I grabbed it and just a week ago I finally got a chance to pick it up while I’m not drowning in books for class.
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