Posts Tagged ‘Mickey Spillane’

Happy 2025

Tuesday, December 31st, 2024

This will be brief, but I want to acknowledge a few of the people who have made 2024 so rewarding for me.

First, Charles Ardai at Hard Case Crime continues to give me and Nate Heller and Quarry a showcase for our wares.

Second, the whole group at Titan Books, including Nick Landau, Vivian Chung and Andrew Sumner – these three made the continuation of Mickey’s Mike Hammer novels, all based on material from Mick’s files, with Jane Spillane’s blessing, a reality, right up to the coming year’s Baby, It’s Murder. That whole bunch, with Charles Ardai added in, and my agent Dominick Abel, made my forthcoming Return of the Maltese Falcon (a year from now) possible.

Third, my producer on Death by Fruitcake, who also shot and edited the feature film, Chad Bishop. A one-stop-shopping moviemaker, Chad was also instrumental in getting Blue Christmas out there.

Fourth, the cast of Death by Fruitcake, every one of ‘em, but a special shout-out to our leads, Paula Sands, Alisabeth Von Presley and Rob Merritt. These three brought the principal players of the Antiques mystery series (by “Barbara Allan”) to credible, incredible life.

Fifth, the production manager and exec producer on Death by Fruitcake, who made the entire thing possible and even kept me alive – the love of my life, Barbara Collins.

Sixth, the incredible Robert Meyer Burnett and a phenomenal name cast for turning my script, based on True Detective, into the ten-part, immersive audio drama, True Noir: The Assassination of Mayor Cermak (available at truenoir.co). Big thanks also to producers Mike Bawden, Christine Sheeks and my longtime collaborator, Phil Dingeldein, who is directing and producing our History Behind the Mystery video series that accompanies each episode of True Noir.

Seventh, the members of my band Crusin’ (established 1974!) – Bill Anson, Scott Anson and Steve Kundel. We are now officially defunct, but you never know – a reunion could happen.

Eighth, my son Nathan who runs this website and posts these blog/Updates and does a fantastic job.

Ninth, thank you to everyone who reviewed Blue Christmas, even those of you (very much in the minority) who gave us bad reviews. All of you helped us get the word out that our little Christmas noir existed. Positive Amazon reviews still appreciated.

I know I have left people out. I did the best I could with my ancient brain. My apologies.

This year-end wrap-up ends a productive, exhausting 2024. A lot is coming up, including the last Mike Hammer novel and the 50th anniversary of Quarry, not to mention a certain Sam Spade book. We’ll be promoting Death By Fruitcake, entering a few film festivals and competitions, and we’re discussing a Quad Cities premiere with the Last Picture House in Davenport. I will be starting my draft of Antiques Round-up in January – Barb is wrapping her draft up now. And God willin’ and the crick don’t rise, we’ll be doing at least one more of the Antiques novels. A lot else is in discussion, but we’ll wait till 2025 to get deeper into any of that.

People always ask me one of two questions – are you still writing? The answer: Yes, nobody sends money to my house if I don’t. The other question is, why at your age are you working so hard on so many projects? Because at my age, the clock is not my friend.

But all of you are.

M.A.C.



Death by Blue Christmas & True Noir Kicks

Tuesday, September 24th, 2024

Last week’s update/blog was very short and I didn’t bother to post it to the various Facebook pages that follow me. So if that’s where you generally see these posts, you may wish to catch up with last week’s right now.

The truth is last week I forgot all about writing a post until my son Nate (who handles this for me) called me last minute wondering why I hadn’t sent it. This is the first time that ever happened and I’ve been writing these weekly posts for…ever.

Am I getting old and possibly senile? At least one of those two things is true and the other may be inevitable. But let me speak just a moment about the notion that I am the hardest working man in show business. People often comment on the prodigious amount of work I turn out. My standard response is, “Nobody sends money to my house if I don’t.”

I am undoubtedly a fast writer. Not Bob Randisi fast, but pretty, pretty fast, as Larry David might say. Nonetheless the amount of work I’ve produced is based on a couple of things: (a) slow and steady wins the race, and (b) I’ve been publishing since 1972. Do the math. No, really – do the math…I’m shit at it.

Several people have commented on how amazing it is that we shot our movie Death by Fruitcake in two weeks, then turned around and had it edited and essentially finished within another three weeks (the “we” being editor/d.p. Chad Bishop and me). What gets lost in that shuffle is that we’d been planning the movie since around April and I’d been full-time on pre-production starting the first of July.

This was a kind of experiment for me to see if I could do another movie at my age. We’d done Mickey Spillane’s Encore for Murder in 2022, but that was primarily a radio-style stage play that we shot in dress rehearsal and its one performance, then edited into a movie or program or…something. (You can find it as a special feature on the expanded Mike Hammer’s Mickey Spillane Blu-ray or on its own DVD, or on several streaming services. Gary Sandy is a wonderful Hammer.)

Encore got my filmmaking juices going again and we made Blue Christmas last year for release, well, right about now or anyway very soon. Some of you know that my novella, “A Wreath for Marley,” is a favorite of mine among my work. And maybe a few know that it was planned to be the follow-up to my movie Mommy back in the mid-‘90s, but when a sequel to that surprise success shouldered its way into the front of the line, Blue Christmas got lost in the shuffle (to mix a bunch of metaphors).

Many years later (last year specifically) I figured out a way to make Blue Christmas on one set, essentially, and on a six-day schedule. My longtime collaborator Phil Dingeldein helped make that happen, and my editor/co-producer Chad Bishop brought it home.

Death by Fruitcake grew out of two things – the desire to make a second Christmas movie, since Blue Christmas was warmly received in its advance screenings and had stoked our ability to get VCI and MVD to bring it out on physical media. The other factor was the frustration Barb and I have had with our Antiques comic cozy mystery series almost becoming a TV series a bunch of times. We decided to make an indie movie and show Hollywood how it can be done.

Here is the trailer, which Chad put together and I tweaked a little bit; I think it’s rather wonderful.

And let us not forget that Blue Christmas comes out this holiday season. I was delighted when Diabolik, my favorite source for boutique physical media (that is, Blu-rays and 4K’s), picked our movie to showcase on their great site. You can pre-order it from them (or Amazon and a few other places) but here is the Diabolik link.

And in case you didn’t take a peek at it previously, here’s our Blue Christmas trailer.

Many of the Blue Christmas actors return in Death by Fruitcake, including star Rob Merritt, who is probably the most prolific and popular actor in Iowa. And we showcase Midwestern broadcasting legend Paula Sands (who was in Mommy’s Day!) and American Idol’s Alisabeth Von Presley as Vivian and Brandy Borne. They are, I have to say, wonderful in it. Barb agrees.

We hope to have a few premiere Fruitcake screenings here in Iowa yet this year, perhaps in tandem with promised runs at various Iowa movie theaters. Stay tuned for info.

But wait, there’s more!

The ten-part immersive radio drama, True Noir: The Assassination of Anton Cermak, successfully achieved its KickStarter goal and then some. You can read about it (and pre-order True Noir in several forms) right here.

In case you’ve arrived at this party late, True Noir is my 350-page adaptation of the first Heller novel, True Detective, directed by the great Robert Meyer Burnett and with an astonishing all-star cast headed up by Michael Rosenbaum. I’ve been attending many of the recording sessions via Zoom, and have heard advance examples of what Rob Burnett is turning out, and I can only say this will be one of the true (get it?) highlights of my long and lucky career.

True Noir has been getting considerable press attention. Check this out.

What else is happening?

Return of the Maltese Falcon awaits.

In other news, I have once again seen my reviled Batman work proving useful to Hollywood creators. I should say “seen,” because I haven’t watched the new Penguin series that recycles my origin of Robin (i.e., a little hoodlum who steals hubcabs). I haven’t watched the Penguin series because it’s obviously a reflection on how Batman keeps getting taken way too seriously. The whimsical villain the Penguin becoming a gritty noir character just has me shaking my head…although I realize I’m condemning something I haven’t watched, and certain people I respect like it. But, hey –- I’m the guy who never watched Wild Dog on Arrow. I had to bitch to get compensated for the use of that Collins/Beatty character, which may explain why I choose to do so little comics work these days.

Anyway, you can read about Penguin and me right here.

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.