Archive for the ‘Message from M.A.C.’ Category

The Falcon Returns, Nate Heller Is Cast & Fruitcake Wraps!!!

Tuesday, September 10th, 2024

Some of you may have seen this elsewhere on Facebook, but this is exciting news I’m glad to share. My long intention to write a sequel to The Maltese Falcon, which I consider to be the greatest private eye novel ever written (and the one establishing all of the conventions of the genre), has become a reality. Read about it below.

Novelist Dashiell Hammett, author of “The Maltese Falcon” appears in New York on Nov. 7, 1947. (AP Photo/EF, File)
By HILLEL ITALIE

NEW YORK (AP) — The story of one of the great fictional sleuths, Dashiell Hammett’s Sam Spade, will be continued by prize-winning crime writer Max Allan Collins.

The publisher Hard Case Crime announced Thursday that Collins’ “The Return of the Maltese Falcon” will be released in January 2026, when the Hammett classic featuring Spade, “The Maltese Falcon,” enters the public domain. “The Maltese Falcon,” published in 1930 and known to movie fans for the 1941 adaptation starring Humphrey Bogart, is widely regarded as a model for the hard-boiled detective novel.

“It has been an inspiration to authors and filmmakers, actors and illustrators and musicians — and to me, for the entire 50-plus years I’ve been a novelist,” Collins said in a statement. “Not that writing about the world Hammett created, and those immortal, sometimes immoral characters isn’t challenging — Hammett’s best mystery also happens to be one of the greatest American novels, period.”

When copyright protection ends for a book, anyone is free to use the characters and story line. After F. Scott Fitzgerald’s “The Great Gatsby” entered the public domain, in 2021, new creations included a Tony-winning musical of the same name and a prequel novel, “Nick,” by Michael Farris Smith.

According to Hard Case Crime, Collins’ new book will bring back Spade and Joel Cairo among other Hammett characters, and “a mysterious new femme fatale.” Collins, whose “Road to Perdition” was adapted into a film starring Tom Hanks and Paul Newman, has a long history of working with famous literary detectives. He took over the Dick Tracy comic strip in the late 1970s after creator Chester Gould retired, and he was later authorized to continue Mickey Spillane’s Mike Hammer series.

“I’m something of an old hand at walking in the shoes of the giants who came before, though I never claim to filling them,” Collins told The Associated Press.

Various authorized Spade projects have been released, including a 2009 prequel, Joe Gores’ “Spade & Archer,” a novel about Spade and his professional partner, Miles Archer. Spade was featured this year in an AMC miniseries, “Monsieur Spade,” starring Clive Owen in a sequel that finds the detective retired and living in the South of France.

The coverage of this announced Maltese Falcon sequel has attracted attention to me and my work more extensively than anything else in my memory, including Road to Perdition.

The other really important thing this week is the impending end of the Kickstarter campaign for True Noir, which is my adaptation of my Best Novel Shamus award-winning True Detective as a ten-part audio drama directed by Robert Meyer Burnett. If you’ve sampled this update/blog lately, you know that we have an amazing cast.

Big news is this: Michael Rosenbaum (of Smallville and Guardians of the Galaxy fame) has been cast as Nathan Heller. He’s been recording the role already and is fantastic.

Time is running out – three (3) days left to help back this project. If you’re any kind of fan of mine, you won’t want to miss it.

Finally, with the exception of a few Second Unit shots, we have completed filming of Death by Fruitcake. Specifically, we shot the beginning and ending of the film, at Meg’s Vintage Collective here in Muscatine. Chad Bishop and I are hard at work (and it’s going well and fast) in the editing suite.

We had a wrap party of sorts at Boonie’s in Muscatine, where a sandwich called the Max Collins Turkey Burger is on the menu. Appears I have arrived…from the kitchen, anyway.


Alisabeth Von Presley, Barb Collins,, M.A.C., Paula Sands.

Alisabeth, Meg McCarthy of Meg’s Vintage Collective, Paula.

M.A.C. directs Paula and Alisabeth, Chad Bishop shoots.

M.A.C.

A Fruitcake All Wrapped Up (Almost)

Tuesday, September 3rd, 2024

Death By Fruitcake wrapped just before noon on Saturday (Aug. 31), after eleven days of an intense but fun shoot. A great cast, headed up by Paula Sands, Alisabeth Von Presley and Rob Merritt, came through and then some. The small crew, led by Chad Bishop, moved fast and furious and created great images. The rest of the behind-the-scenes bunch, helmed by one Barbara Collins and the indefatigable Jodi Hansen, kept the cast happy, on time, and well-fed. It was one of the most satisfying shoots I’ve ever been on.

It’s not quite over. We have a day of shooting at Meg’s Vintage Collective antique shop, filling in for Brandy and Vivian’s Serenity, Iowa, shop in the script (and all those Barbara Allan-bylined books by Barb and me). And my buddy Phil Dingeldein is coming aboard when things get Fall-ish to shoot some Second Unit exterior photography.

But the body of the film is done, and Chad Bishop (the d.p. and one of the producers) will begin editing soon with me in the editing suite with him, causing trouble.

I couldn’t be happier. My 76-year-old frame held up just fine, to my wife’s amazement (and, frankly, my own).

More later. For now, take a gander at a few of the photos that star Rob Merrit snagged during the shoot.

Paula Sands and Rocky Raccoon.
Paula Sands and Rocky Raccoon.
Robert Merrit (Tony Cassato), Paula Sands (Vivian Borne), Max Allan Collins, Alisabeth Von Presley (Brandy Borne).
Robert Merrit (Tony Cassato), Paula Sands (Vivian Borne), Max Allan Collins, Alisabeth Von Presley (Brandy Borne).
M.A.C. directing Keith Porter (Victor Forman).
M.A.C. directing Keith Porter (Victor Forman).
Director of Photography Chad Bishop getting Cassidy Ptacek (Kimberly) in focus.
Director of Photography Chad Bishop getting Cassidy Ptacek (Kimberly) in focus.
Tommy Ratkiewicz-Stierwalt (Miguel)
Tommy Ratkiewicz-Stierwalt (Miguel).
In the prop area, Barbara Collins gives Baby Jesus the heave ho to borrow some of the hay in His manager.
In the prop area, Barbara Collins gives Baby Jesus the heave ho to borrow some of the hay in His manager.
Paula Sands as Vivian Borne ponders a clue
Paula Sands as Vivian Borne ponders a clue.
The cast of “The Fruitcake That Saved Christmas” react.
The cast of “The Fruitcake That Saved Christmas” react.
The lovely Brandy (Alisabeth Von Presley) and her mother Vivian (Paula Sands).
The lovely Brandy (Alisabeth Von Presley) and her mother Vivian (Paula Sands).
Director of Photography Chad Bishop.
Director of Photography Chad Bishop.
Tracy Pelzer-Timm (Martha; wardrobe), Jodi Hansen (continuity) and Barb Collins (Production Manager).
Tracy Pelzer-Timm (Martha; wardrobe), Jodi Hansen (continuity) and Barb Collins (Production Manager).
Alisabeth Von Presley and Barb Collins.
Alisabeth Von Presley and Barb Collins.
Alisabeth Von Presley and Paula Sands.
Alisabeth Von Presley and Paula Sands.
Rene Mauck (Louise Lamont).
Rene Mauck (Louise Lamont).
* * *

The Kickstarter for True Noir: The Assassination of Anton Cermak (from the casebooks of Nathan Heller) has 9 days to go! If you enjoy my work, please jump on board.

M.A.C.

Do I Have New Projects for You!

Tuesday, August 27th, 2024

I have been meaning to mention this, but it’s so odd…and oddly wonderful…that I haven’t got around to it, till now.

But I have two indie movies shooting right now. If you make these update/blogs a regular stop, you’ll already know I am in the midst of a two-week shoot on Death by Fruitcake, bringing to life the Antiques/Trash ‘n’ Treasures mystery series that Barb and I write as “Barbara Allan.”

More about that later.

But another movie I scripted, Mickey Spillane’s Saturday Night in Cap City, began shooting its two-week schedule on the very same day Fruitcake started rolling.

Sharing script credit with me is director David Wexler. He is also one of the stars of the movie. We have been developing this project for several years – and were about to begin a more elaborate version when Covid kicked in and de-railed us for a time. David became a fan of Mickey Spillane and me out of a general enthusiasm for Hard Case Crime. He knew Mike Hammer wouldn’t be available, but inquired about the novella “A Bullet for Satisfaction,” which I completed for inclusion with Mickey’s final completed novel, The Last Stand, which HCC published.

Read about the talented David Wexler here.

David had me work up a script based on the novella, which I did in tandem with him, and we worked on it in that fashion for some time. When that somewhat ambitious version didn’t get sufficiently off the ground, one of us suggested (I think possibly David, because of an actress he thought could be signed) for me to use my Ms. Tree muscles and turn the protagonist – a rather typical Spillane cop anti-hero – “Dex” Dexter – into a female. This was a fairly elaborate rewrite, if a fun, challenging one; but the Spillane story remained largely intact.

This version attracted several female stars and, again, almost got off the ground. When it seemed doomed to stall yet again, I shared my Blue Christmas approach with David – limit the story to one set and make a micro budget possible.

“A Bullet for Satisfaction” began at the crime scene in a hotel where a wild party had taken place…and also the murder of the mayor of this equally wild town.

David liked the idea, and I wrote a new draft and he adapted it to fit a location he could acquire. For some time the film had been called simply Cap City, but I suggested Saturday Night in Cap City to reflect the action taking place in a hotel suite after a swinging Saturday night party.

That we are shooting simultaneously is a complete coincidence, though it’s a fun way to show that I am indeed back in the filmmaking game. The black-and-white photos here are from the production in progress.


director/co-star David Wexler
* * *

A very nice early review of Quarry’s Return has rolled in from Publisher’s Weekly. Here it is:

Quarry’s Return
Max Allan Collins. Hard Case Crime, $12.95 trade paper.
Retired hit man Quarry returns to the killing business with ruthless efficiency in the highly satisfying 17th entry in Collins’s crime series (after Quarry’s Blood). When a journalist shows up at Quarry’s door searching for his daughter, bestselling true crime author Susan Breedlove, Quarry senses trouble. Predictably, the reporter turns out to be a hired assassin, and his expert knife skills make him more than a match for the 71-year-old ex-killer. Fortunately, Quarry’s former lover Luann Lloyd, who he believed was dead, arrives in the nick of time to rescue him. But Quarry’s daughter is far from safe; evidence suggests she’s been abducted while investigating a series of cold case murders, forcing Quarry to return to Port City, Iowa, where he met Susan’s mother and left contract killing, and where Susan had been conducting research. With Luann’s help, Quarry begins his own investigation into the killings Susan was writing about, in the belief that exposing the culprit will lead him to her. The fluid narration is better than ever, and Collins brings the proceedings to an exhilarating and unexpected conclusion. Fans will hope Quarry returns again soon. (Nov.)
* * *

The first week of Death by Fruitcake went extremely well, sometimes surprisingly so – this is the first time I remember on a movie set where we completed the day’s work early…and it happened most days.

This week will be harder. Our male lead, Rob Merritt (star of Blue Christmas), is working only on the second week, meaning the first week had to shoot material that, obviously, didn’t involve his character. So we shot 30 pages of a 90-page script, meaning (my math skills come into play here) we have 60 pages yet to shoot. We do have an extra day (we’re working Saturday), but that hardly covers it.

I am not worried because this cast is doing incredibly well, and when Rob comes in, a real pro will be among us (as are Paula Sands and Alisabeth Von Presley). This bunch works hard and never complains, making for a real team effort. Also, our first week knocked off some of the most elaborate, toughest scenes on the schedule.

There are always fires to put out, and changes that have to be made on the spot, which is why I think having the writer be the director makes a lot of sense. Barb and I spent much of the weekend studying shooting schedules and call sheets and making last-minute arrangements.

Friday night had us bringing in a group of around sixty or seventy to be the audience for the play-within-the-movie, Vivian Borne’s The Fruitcake That Saved Christmas. My grandson Sam and granddaughter Lucy were among the highly cooperative audience members who gave us what we needed (“Now laugh big, as if you just saw for the first time Gene Wilder’s big scene in The Producers!”) even as they had a good time doing it.

Producer/director of photography Chad Bishop had a stellar week and rounded it off with a screen cameo as Louis Wilder, who accompanies wheelchair-bound FDR to the fruitcake factory to be presented with the key to the city. Turns out that specific fruitcake has surprising recuperative powers….

This is hard work but I love it. I never dreamed I’d be back on set again in this lifetime. Glad I was wrong.


Alisabeth Von Presley as Brandy; Paula Sands as Mother

The Suspects (some of ’em)

Tommy Ratkiewicz-Stierwalt as FDR (with M.A.C.)

The Least Efficient Assembly Line Anywhere (with M.A.C.)
* * *

We appear to be very close to making a deal with the terrific actor we have chosen to play Nate Heller in True Noir: The Assassination of Anton Cermak. In case you haven’t been by lately, that’s our fully immersive audio drama based on the first Heller novel, True Detective. The ten-episode production is written by me and directed by Robert Meyer Burnett. Our fellow producers are Mike Bawden and Phil Dingeldein. It’s an Imagination Connoisseurs presentation.

You can order True Noir in various forms from our Kickstarter page here.

The Kickstarter campaign ends in 17 days, so get crackin’. As of Sunday we were at $20,290 of a $30,000 goal. Unlike most such crowd-funding campaigns, you will receive what you order in a short period of time. We already have most of our amazing cast recorded, and editing and sound design are well under way.

True Noir is one of the best (and rewarding) projects of my fifty-year career.

M.A.C.

Death by Fruitcake Begins Production, Thanks to Barb

Tuesday, August 20th, 2024
Death by Fruitcake, auditorium set with cast and crew at work.
Day one on the set of Death by Fruitcake.

When this update appears, we’ll be in our second day of shooting Death by Fruitcake. The week since I last posted found us heavily in post-production mode. It’s been intense but gratifying to see things coming together.

The real pleasure has been working so closely with my wife on this project. She had been intimately involved in my productions – really our productions – in the ten-plus years we did quite a little bit of indie filmmaking. Mommy and Mommy’s Day saw her filling a production manager role, and those productions would not have been possible without her. The same is true of Real Time: Siege at Lucas Street Market (2001) and Eliot Ness: An Untouchable Life (2005), as well as my two documentaries, Mike Hammer’s Mickey Spillane (1998) and Caveman: V.T. Hamlin and Alley Oop (2005).

She has an unfailing eye for detail and a gift for dealing with all sorts of people. And her storytelling abilities are obvious to anyone who’s read her short stories or the novels we’ve done together, in particular the Antiques (Trash ‘n’ Treasures) mystery series.

But there were travails involved with all of those productions, proud as I am (and I think she is too) of all of them. Mommy was a baptism by fire. Difficulties with the director led to letting him go after the first two weeks of a four-week shoot (I was producer and writer), meaning I had to fill the director’s role without any experience or prep, just years of being a movie buff. When I lost the Dick Tracy scripting gig after fifteen years, indie filmmaking was another way to make some money…I thought.

And we had some success, particularly with the two Mommy movies, but my co-producer – my best friend since high school – stole a good deal of the money (he was convicted of a felony for doing so). Nonetheless, we did get a sale to Lifetime where Mommy aired in primetime, and both it and the sequel were chainwide Blockbuster buys (a big deal in those days). I was deeply involved in filmmaking during those years, which included the Road to Perdition (2002) sale and the Quarry movie, The Last Lullaby (2008), which I co-scripted. Several short films happened during that period as well.

But the betrayal by my former best friend and the many difficulties of indie filmmaking – getting the money to make even modest productions was (and is) a nightmare – had me walking away from that pursuit, though there have been some screenplays produced (by others) and, thankfully, occasional options on my books for TV and movies (and on screenplays). CBS Films has Eliot Ness and the Mad Butcher (2020, by Brad Schwartz and me) under option right now, and I think Nolan is still under option, too. Might have run out while I wasn’t looking, though.

Anyway, indie filmmaking was a past pursuit. The closest I came to it was writing two Mike Hammer audio books for Stacy Keach and a full cast, one of which won an Audie for Best Original Work (The Little Death) and the other (Encore for Murder) was similarly nominated, and produced as a play starring Gary Sandy in venues at Owensboro, Kentucky, and Clearwater, Florida. Then I was asked to allow Encore to be produced, radio-play-style, here in Muscatine, Iowa, as a fund raiser for the local Art Center.

I consented, as some of you know, and brought in my Mommy’s Day co-star Gary Sandy (WKRP in Cincinnati, of course) to play Mike Hammer. When I attended the first rehearsal (Gary would be coming in a few days in advance of the actual production), I was pleasantly surprised to find the local cast very good.

Barb had endorsed my involvement (I was co-director as well as writer) but wanted no participation. She was retired from movies and anything vaguely related. The theft of the Mommy money had threatened our house and she remained understandably bitter. But I encouraged her to come to the next rehearsal to see if I was kidding myself thinking these local thespians were pretty darn good. She came and agreed.

Then when Gary Sandy came in and did a terrific job as Hammer in rehearsal, I contacted my longtime collaborator, Phil Dingeldein (director of photographer on all of my features), and convinced him to come to Muscatine to shoot the one live performance. He did this (and shot a dress rehearsal, too, to give us extra coverage). The idea was to use it as a bonus feature on our revised updated version of Mike Hammer’s Mickey Spillane, which we did (it’s available from VCI at Amazon right now).

Barb stayed pretty much aloof from that production, for which Chad Bishop (who was a cast member) worked with Phil on the Encore shoot and edited it into a movie or a program or some damn thing. It came out pretty well, I think, and is available on DVD separately from VCI as well as on the Spillane documentary.

Anyway, that experience got the indie filmmaking juices flowing again and Chad and I (with Phil onboard as d.p.) decided to do Blue Christmas, which I’ve been discussing here quite a bit. Barb gave her blessing but refused to be a part of it. She’d had enough of the hard work and misery that accompanies any kind of filmmaking.

But a few days out from the production (this was last October), I had some very stressful situations relating to the production that sent me back into a-fib. And Barb got on board. She again made the production run smoothly. Ask anyone who the MVP on Blue Christmas was and they’ll say Barb.

Now we’re doing one more – Death by Fruitcake. I tricked her into being part of it by basing this one on our Antiques series, specifically a novella, Antiques Fruitcake in Antiques Ho Ho Homicides. She is caught up in it, with me, and doing a stellar job. It’s unimaginable without her.

Ask anybody in the cast or on the crew.

Again, she has made it clear this is her last production. I believe her. I always do. So this is probably my last indie movie, too – unless somebody gives me enough money to hire a production manager as good as Barbara Collins. Which is itself a long shot for more than one reason….


Barbara Allan

Blue Christmas, by the way, is already available for pre-order at Amazon (it’s a November 11, 2024 release).

And you can read about Blue Christmas at Blu-ray.com, right here.

* * *

Just in case I haven’t given you enough reasons to spend money on me this time around, keep in mind the clock is ticking on the Kickstarter effort to back True Noir: the Assassination of Anton Cermak, based on my novel True Detective in a fully immersive audio drama in ten parts and written by (again) me. It has an amazing cast, and a great director (Robert Meyer Burnett).

Scroll down a ways in this Digital Bits column and get the skinny on True Noir.

True Noir logo

M.A.C.