Archive for the ‘Uncategorized’ Category

Big news coming in July…

Saturday, May 12th, 2012

Check back here for an exciting announcement in the coming weeks.

I’ll be a panelist at The San Antonio Film Festival in Texas from June 18th to the 24th.

Saturday, March 10th, 2012

Hope to see all my Texas friends there!

My new short story PAST DUE now on Mulholland Books’ Popcorn Fiction.

Monday, January 16th, 2012

If you’ve ever been behind in your bills, you’ll enjoy this suspenseful little tale about a single mother menaced by a stalker collections agent.

I will to be a panelist at the AnthoCon 2011 in Portsmouth New Hampshire from 11/11 to 11/13.

Tuesday, November 8th, 2011

If you’re on the east coast, try to make it. It’s a distinguished group of guests and very interesting panels on genre writing. I’ll be giving a lecture and workshop on The Elements Of Writing Horror and Thrillers For Films.

Putting the finishing touches on DO NOT DISTURB, the first tale of the TWITCH horror anthology on AITH at this Halloween.

Wednesday, October 5th, 2011

I’ll be attending the 2010 AFM in Santa Monica

Monday, November 1st, 2010

See you there!

The COHEN AND TATE soundtrack CD is now available on Intrada Records.

Monday, August 30th, 2010

From the description on the record website: “World premiere of intense Bill Conti soundtrack from grim Eric Red thriller with Roy Scheider, Adam Baldwin as pair of hit men involved in murder, kidnapping, other nastiness. Conti takes cue from dark proceedings, writes tough orchestral score with abundance of cold strings, throbbing low piano, solid French horn. Action segments are rhythmic, aggressive highlights! Intrada presents entire score in dynamic stereo from two-track digital masters, courtesy both composer and MGM! Fans of Bill Conti may enjoy hearing this serious, extreme side to generally bright composer. Bill Conti conducts. Intrada Special Collection release limited to 1200 copies! LESS THAN 100 COPIES REMAINING!”

To order follow the link. now live online!

Thursday, January 21st, 2010

My official site is now online at Check it out!

100 FEET on DVD & Blue Ray!

Friday, April 24th, 2009

Eric Red: “I’m excited to announce that we’ve just completed the state of the art Blu-Ray and standard DVD release of “100 FEET” that presents the full immersive experience of the film for maximum scary impact for audiences. It is unrated and uncut. The film has never looked or sounded better. It is presented in widescreen 2:35 and 5.1 Surround Sound and the DVD will blow you out of your seat. The disk is fully director approved.

The official wide release of the “100 FEET” DVD will have its street date in the next few months once we’ve completed the extensive Special Features section. The SE will include a director and cast commentary, deleted scenes, storyboards, and a behind the scenes making of documentary, and the extras will kick serious ass. In the meantime, this Tuesday 04/28, the Blu-Ray and standard DVD will be available exclusively at Hollywood Video and Movie Gallery.”

NOTE: 100 FEET will also premiere this Sunday on the Sci-Fi Channel.

Horror screenwriting tips!

Tuesday, March 3rd, 2009


People ask me all the time how to write a good horror script. The same rules apply as in writing any good screenplay. I’m happy to share some screenwriting tips that have always worked for me in the horror genre.

Let’s talk about the first ten pages. I’m not the only one to point out the importance of them, but given how many poor scripts and badly written movies are out there, it bears repeating and has always been key for me. 

As a screenwriter, you have 10 pages to hook the reader or you’re dead. The First Ten are the most important pages of a screenplay.  Why?  Because if you haven’t hooked the reader–be it producer, director, star, development executive, script reader or anyone else down the film business food chain—-you’ve lost them. They will probably put the script down and not read any further, and not buy or make the script. You want to start your story, particularly a horror movie, with a bang.

Set up a situation in the first ten minutes that is interesting where people want to know what happens next. Establish the main characters in an exciting way. Avoid cliches particularly in working in established genres like vampire and zombie films where instantly the reader knows if they have seen it before. Give those first ten pages a spin on the genre people haven’t seen before. Then they’ll go, “this is cool” and want to read more, which is what you want as a writer.

Stars, when you submit the screenplay to them usually with a firm offer, will read ten pages. If the leading character you want them to play hasn’t been set up interestingly in those first ten pages, they will pass on the project. Always.  So be sure your main character is properly introduced in The First Ten.

Think of first ten pages as a movie in itself.

Check out the first 10 pages of my script “THE HITCHER.” The entire first encounter between the hitcher and the kid–played in the film by Rutger Hauer and C. Thomas Howell—happens during the opening 10 minutes. It’s just two guys in a car on a lonely highway, in a claustrophobic thunder and lighting storm with a lot of terse cryptic menacing dialogue as the kid slowly realizes the guy he gave a ride to is a psychopathic murderer who is going to kill him. The kid throws the hitcher out of the car at the end of the sequence and the movie begins. 

Also, the kid picks up the hitchhiker in the rain on page 2. There was no back-story needed with the kid. It wasn’t important this early where he was from or going. All that mattered was he sees a hitchhiker in the rain with his thumb out and stops to give him a lift and we go, “don’t do it!” His first line, “My mother told me never to do this” said it all. In the opening ten pages, start situationally with action, and explain it later. If you can, hook the reader on page 1 or 2.

In “THE HITCHER” remake–I read the script but didn’t see the film-–the protagonists pick up the hitchhiker more than 20 pages in! The remake writers slowed the whole thing down and lost the instant tension of my script. Talk about taking steps backward. They did all the things I intentionally avoided in the original. 

All good storytelling comes down to people wanting to know what happens next. Then being surprised with what happens next. Remember that as a storyteller you can’t take the audience anywhere if they don’t know where they are. You don’t want the audience confused, particularly at the very beginning when they are eager to get their footing and get some idea who this story is about and where they are going.  Then you surprise them and take them somewhere they didn’t expect.

How do you know if your first ten pages are any good? Tell the first ten pages of the script to people. You can see whether they are interested or not by the look in their eyes. Simple as that. Next time, I’ll talk about high concept and how if you can’t tell your story in three to four sentences, you don’t have it.