Author of Secrets of Kenya
David Conyers has written extensively for Lovecraftian and Call of Cthulhu games magazines along with authoring several CoC scenarios and the Secrets of Kenya supplement from Chaosium. Here David talks about his life with the tentacled one, his co-authored Mythos fiction work (The Spiraling Worm with John Sunseri) and what the future may hold. David is also a long time Son of Yog-Sothoth on YSDC.
YS: How were you introduced to Call of Cthulhu?
DC: I'd been gaming since the early 1980s, trying games like Dungeons & Dragons and Traveller. For me Dungeons & Dragons was too focused on rules, killing monsters and collecting magical items, and Traveller was all about the military in a rather sterile science fiction environment (compared to some of the science fiction novels I'd been reading at the time). It was not until the mid-1980s that I was first introduced to Call of Cthulhu at an impromptu session at a friends place in the Adelaide Hills where I grew up. I quickly generated a private eye and we played Mark Morrison's The Crack'd and Crook'd Manse when it was still a Multiverse scenario. My character lived, half the party died, but I was hooked. It was so different to any other role-playing game that I tried.
From there I went on to play The Madman, The Warren, The Auction, The Mauretania, Death in the Post and the beginnings of the Shadows of Yog-Sothoth campaign. What appealed to me was this game that focused on investigation and problem solving, not just upon killing and collecting magic items to define a character. I had a real sense of accomplishment if I reached the end of an adventure alive and sane, doubly so if we also defeated the threatening cosmic horror.
A short time later still a teenager my family moved to Melbourne and a group where I could play Call of Cthulhu was lost to me. I eventually bought the rules book, The Fungi from Yuggoth and Cthulhu Now to run scenarios with my new Melbourne gaming friends, and was immediately hooked a second time when I'd read my purchases. After that I sought out the fiction, first reading Ramsey Campbell's excellent New Tales of the Cthulhu Mythos and then some of Lovecraft's works himself.
YS: Why do you think the game has been so successful?
DC: I liked Call of Cthulhu because players' characters are real people without superpowers, and so by default the game encourages deduction, problem solving and a real courage to face horrors that are vastly more powerful than their mere human characters fighting them. Once players begin to obtain magical or technological items to defeat their foes, then the focus becomes a power game, changing to a Dungeons & Dragons style setting. Cthulhu doesn't do this. The Sanity system I think is one of the big appeals, especially when playing the game for the first time. It's a novelty, this massive statistic that you can't control but controls you.
Lovecraft himself had lots of great ideas, which became a strong foundation for the setting. Even though Lovecraft has been dead for 70 years the Cthulhu Mythos is alive and well today, mostly because of the many talented and inspiring writers, game designers and film makers contributing to the setting, growing it, evolving it, keeping it alive.
I also think the Basic Roleplaying System (BRP) is another key to the game's success. It's simple to understand but complex enough to be adaptable to any situation, ideal for any setting (fantasy, modern, horror, science fiction, superheroes) and you don't need to know the rules to play the game.
Lastly, I think the Call of Cthulhu has been successful because it is a more intelligent role-playing game, retaining older gamers, who normally give up on make-believe worlds in later life when the hack and slash approach has lost its appeal, or been replaced by a Xbox or a PlayStation.
YS: What is your favourite era (& why)?
DC: I like both the 1920s and the modern era. 1920s works well because the setting is familiar enough, yet the world is more exotic than it is today, and there remain unexplored regions of the world where horrors and cultists can lurk. For example, the heart of the Amazon, the Congo, the Himalayas and Antarctica are still mysterious places, while the modern era these locales have all been mapped and understood. Strange mythos-tainted villages like Dunwich or Goatswood are also believable in the 1920s, as are Cthuluh Mythos worshipping cults. Noir and pulp styles of gaming are also so easy to adapt.
The modern era is nice, but it's a different kind of horror and focus. I think the best setting to come out of the modern era is Pagan Publishing's Delta Green, as it better reflects the state of the modern world, as opposed to translating Lovecraft's old ideas into a new setting. Modern day villains are not cultists but unscrupulous corporations, corrupt governments, terrorists, serial killers, child pornographers and organised criminal syndicates, especially when they are tainted with the Mythos. The modern era better lends itself to the science fiction elements of Lovecraft's vision, but I don't think that angle been done well yet.
YS: Do you have any memorable moments from play?
DC: For me the game was most memorable when I first started playing it, as I had no idea how deep the Cthulhu Mythos extended, and here I was as a player, trying to understand more and more of this terrifying universe through my characters, of this rich and imaginative setting.
I remember playing The Hermetic Order of the Silver Twilight in Shadows of Yog-Sothoth. A friend and I were deep underground in the catacombs resurrecting victims from their component blue-grey powder, trying to figure out what the hell was going on with the Silver Twilight. Then I went mad, dropped our only torch and everything went dark. The other guy I was playing with fell into a pit, and I was feeling around blindly for our only light. Then someone started to come down the stairs... It's just fun and scary, trying to think our way out of a hopeless situation.
YS: Do you still play Call of Cthulhu?
DC: I game with three guys once a week. We alternate between Cthulhu and other games. I now can't play Cthulhu since I know the setting so well, there is just no suspense for me any more. Before I recently moved from Melbourne back to Adelaide, fellow writer David Witteveen was running Horror on the Orient Express. I hadn't read the campaign in at least a decade, but here I was, remembering the scenes as they were about to come into play. The good old days were gone. I still run the game and I'm considering a Delta Green campaign next, mixed in with the setting John Sunseri and I created with our novel The Spiraling Worm (more on that book later).
YS: Do you have a favourite CoC supplement or scenario?
DC: There are so many campaigns, supplements and scenarios that I like, but if I was to pick one, Mask of Nyarlathotep stands out. It has this great back story with the Carlyle expedition and their members had personalities which shone through the narrative. It is also the best campaign to use exotic locales which transformed the game into a truly global experience and the pulp feel to the encounters is memorable.
YS: What inspired you to write for CoC?
DC: I joined the Cthulhu Conglomerate in 1990, a group of gamer/authors whose members wrote and presented Call of Cthulhu tournament scenarios at Melbourne conventions. The group was very popular, and their games were always in demand. Members included Richard Watts, Mark Morrison, Penelope Love, David Witteveen and Liam Routt whose scenarios have appeared in Chaosium and Pagan Publishing supplements. I ended up writing three scenarios for the Cthulhu Conglomerate; The Colony, Devil's Children with David Witteveen and David Godley, and then A Handful of Dust, all of which are now available on Yog-Sothoth.com. I guess it was the immediate feedback from likeminded writers that got me started with the writing, and through the Conglomerate I was developing contacts with Chaosium.
Devil's Children was then picked up by John Tynes who published it as Pagan Publishing's first professionally produced supplement. I later sent him A Handful of Dust which he turned down. I can see why now, as it wasn't the best thing I'd written and it would conflict with their Delta Green setting that they - on reflection - were working on at the time (I turned Dust into a Delta Green scenario later when Yog-Sothoth.com published it). Keith Herber, when he was an editor with Chaosium was also about to publish one of my scenarios in a book tentatively entitled Expedition of Terror, scenario involving treks into the unknown wilderness such as the Amazon, the Sahara, the Himalayas, and in my scenario the Congo. Unfortunately Keith left the company a short time later and the publication feel by the wayside.
After all that experience I completed university, started working in a corporate job and writing fell by the wayside.
I've always wanted to write science fiction and dark fiction, and saw gaming writing as a valuable stepping-stone towards developing my craft. For various reasons between 1994 and 2001 I didn't do any writing, but I always wanted to. I made the decision in 2001 that I would get back to writing, finding time between my job and family commitments to type away on my computer, and then things started to happen. The Chaosium connection was still there, so I tried it again, and it work!
YS: How long have you been writing for the game?
DC: My first published book was Devil's Children in 1993, although I was writing for many years before that. I'm still writing gaming material now, but I'm phasing it out in preference of my fiction, which is starting to take off. If I'm going to make a living from writing, which is what I'm aiming for, it will only happen through fiction.
YS: Chaosium has released your Secrets of Kenya supplement, can you tell us more about it?
DC: It has a long history. In 2001 I sent Chaosium's Chief Editor Lynn Willis an outline and the first couple of chapters for a campaign set in the 1920s Belgian Congo entitled The Hand that Feeds, based on that scenario I had been writing for Keith Herber all those years ago. It was inspired by David Drake's Than Curse the Darkness and Lovecraft's Arthur Jermyn, and Lynn got back to me and said go for it. I started writing it, preparing about 100,000 words of material until Chaosium fell into troubling financial times and the whole project ground to a halt.
Still wanting to write for the game, I started submitting to Call of Cthulhu gaming magazines such as The Black Seal, The Whisperer, Book of Dark Wisdom and Worlds of Cthulhu where I was guaranteed to have something published. A few years later Chaosium was back on its feet and I was asked to submit a scenario to The Stars Are Right! My contribution was Darkest Calling based upon one of my first published short stories Solvent Hunger, appearing in the Book of Dark Wisdom after it went from a gaming to a fiction format. Then Brian M. Sammons and I were asked to do the same with Secrets of San Francisco writing a scenario each. I then wrote the additional material for Malleus Monstrorum and the new edition of Spawn of Azathoth and so on, and as a result The Hand that Feeds slipped and eventually I got frustrated with it. Yet I still wanted to write something on Africa for the Call of Cthulhu game.
In 1995 I had backpacked through Africa including Kenya with fellow writer David Witteveen (we are still friends, we co-wrote Devil's Children way back in 1993 and we have a Lovecraftian story Sweat as Decay appearing in Brimstone Press' Macabre anthology which will be published in 2008). I fell in love with the continent. I kept meaning to go back, but never have. The plan is still there, and I will. In the meantime Africa had inspired me to write about it.
So I pulled apart The Hand That Feeds, taking elements such as the Spiraling Worm cult and some of the locales for use in Secrets of Kenya. The scenario Savage Lands was going to be a chapter in the campaign, and is now a stand alone scenario. I pulled together all my research on British East Africa and turned it into the Kenya sourcebook. Because I initially thought it was going to be a monograph like William Jones' Mysteries of Morocco, I did all the artwork and many of the photographs were my own. I also used photographs taken by another friend Lee Roberts, who also travelled through Kenya many years ago.
The intention was to create a supplement that really tied-in with existing fiction and gaming material, which a lot of the early city sourcebooks didn't do so well. I especially wanted Secrets of Kenya to be a companion piece to Masks of Nyarlathotep and the references to that campaign are many. Additionally there are lots of scenario hooks in the location descriptions and four adventures, so that investigators have a lot to do in Colonial Kenya. It is a scenario book as much as it is a sourcebook. Since its release I've also supported the book with a web site: http://www.freewebs.com/secretsofkenya.
When it was done I delivered the entire manuscript, artwork, maps and photographs to Chaosium. At the time they happened to have a gap in their schedule. Next thing it was announced and now it's on the shelves.
While it was waiting to get published, there was chatter on the Internet that a Kenya supplement wouldn't work, that it didn't have enough global appeal to most gamers. I'm hoping that these gamers see it differently now that it is out, as Secrets of Kenya allows gamemasters and players alike to discover another corner of the world that is foreign and exotic, that generate a sense of unfamiliarity of place. Lovecraft Country and the United States city supplements are nice, but they comprise a small corner of the 1920s world. With Secrets of Kenya players can become true globe investigators undertaking exotic adventures like our best known 1930s pulp hero, Indiana Jones (he didn't restrict himself to New England the United Kingdom).
Since Secrets of Kenya's announcement I've been contacted by several authors who, inspired by what I have done, now want to populate other exotic corners of the globe with similar supplements. I know of a Peru, Shanghai, Egypt, Istanbul and Scotland Secrets of... books in the works, and I look forward to all of them.
What will happen with The Hand That Feeds, I'm not sure? It could become a Secrets of the Congo in either a 1920s or 1890s setting, or a shortened adventure, or even a novel. For now it languishes, while my fiction work takes a front stage. I may come back to it, I'll see.
YS: You've also written The Spiraling Worm story collection (in association with John Sunseri), how does that tie in with Secrets of Kenya?
DC: The Spiraling Worm is a collection of modern day Cthulhu Mythos tales involving spies, military action, covert operations, government agencies, conspiracies, corrupt corporations, and alien intrusions upon the earth. The seven stories feature two central protagonists, Major Harrison Peel formerly of the Australian Army and Jack Dixon an NSA agent, who fight the good fight to halt cosmic horrors from destroying the Earth wherever they appear on our planet. Comparisons to Charles Stross' The Atrocity Archives and Pagan Publishing's Delta Green will be made, both of which I consider to be great settings, but spies versus cosmic horror is nothing new. We had a lot of fun writing it, and we hope that the stories bring new perspectives and ideas to the Lovecraftian universe, and most of all, we hope that the stories are fun to read.
The first six stories are set in Cambodia, Antarctica, Australia, Thailand, the United States, Russia, Italy, the United Kingdom, New Zealand, Ecuador and Argentina, and feature popular Lovecraftian creations such as Shub-Niggurath, Cthugha, shoggoths and a host of other monsters. The last story, The Spiraling Worm is set in the Congo, and is based on my scenario The Spiraling which appeared in The Black Seal Issue 3 and material from Secrets of Kenya and my abandoned The Hand That Feeds campaign. Set in Kenya and the Congo, this novella expands upon the Spiraling Worm cult their nefarious plans in the African jungle. Referenced between Secrets of Kenya and The Spiraling Worm are there, often subtle but they do tie the two settings together. I'm now thinking of introducing the character Jamal Alhazred from Secrets of Kenya into a later Harrison Peel story, cementing the ties further.
Does that make The Spiraling Worm an official addition to the Call of Cthulhu setting? Well you'd have to ask Chaosium that, but it is Call of Cthulhu fiction and we did give them permission to use any of our creations in their gaming setting, and some of them already are, such as the Many-Thing in the scenario Wooden Death in Secrets of Kenya.
YS: How much time do you spend on Call of Cthulhu?
DC: Not as much as I used to. I've written over 500,000 words for the game, most of that which is in print, and the rest of it waiting to go to print. As I said earlier, these days my writing is focused on my science fiction and dark fiction. I do have a couple more Call of Cthulhu projects in the pipeline, which are close to being completed.
YS: Do you write other non-game related material?
DC: Well fiction is my first passion, and I've had some real success especially in the last two years. I now have about fifteen Cthulhu Mythos tales in print and some have appeared in anthologies such as Horrors Beyond, Arkham Tales and Hardboiled Cthulhu. I also have two chapbooks with Rainfall Books in the United Kingdom, Cthulhu Australis in two parts featuring my Australian Cthulhu Mythos tales. Many of my Mythos short stories influenced my gaming scenarios, for example Beyond the Edges in Secrets of San Francisco used as its basis my Yog-Sothoth tale Vanishing Curves appearing in Book of Dark Wisdom issue 3.
I also write dark fiction, with tales in Macabre: A Journey through Australian Horror and Black Box soon to be published by Brimstone Press in Australia. My favourite genre is straight science fiction, with my future-African novellas Aftermath in print in Agog! Ripping Reads and the other Black Water short-listed for the Aeon Award, sponsored by Ireland's premier speculative fiction magazine Albedo One. Aftermath was nominated for the two top Australian speculative fiction awards, the Aurealis and the Ditmar. I lost out to well-known Australian science fiction author Sean Williams on the first one, and I'm still in the running with the second.
Reviews are another thing I write, and have written many for Book of Dark Wisdom, OzHorrorScope, Albedo One and of course Yog-Sothoth.com.
YS: What are your non-gaming influences?
DC: I have many. Since 1995 I've done a lot of travel, in six continents and over twenty-five nations many of them in developing countries. I find that these experiences combined with my interest in their histories, cultures and politics have heavily influenced my work.
I read as widely as I can but I never seem to be able to read that quickly. History, popular science, natural history, espionage, new age, and travel are subjects that I regularly peruse on the non-fiction front. I've read a lot fiction in my time, including a lot of spy thrillers, literature, science fiction, adventure novels, comics, horror and fantasy novels, and lots of short stories. My favourite authors include Martin Cruz Smith, Ian Fleming, Graham Greene, Len Deighton, Iain M Banks, Philip K Dick, J.K. Rowling, Brian Aldiss, Douglas Adams, John Wyndham, Sean Williams, Alastair Reynolds, Alex Garland, Charles Stross and Haruki Murakami. I like Lovecraft a lot, but he's not a favourite.
Movies and television shows influence me too. Movies are covered later. Television shows that have captured my imagination include Spooks, Edge of Darkness, Black Adder, Coupling, Red Dwarf and when I was younger, Doctor Who and Blake's 7. I'm enjoying Lost, but if the final explanation to what the hell is going on is disappointing, then I may disown the series. Only time will tell on this one.
Life as it is lived influences me of course. I find that when I come into a conflict situation in my life, if I can resolve it without making it somebody else's fault so that I don't have to deal with my conflict, then I generally learn a lot about myself, and that in turn expands my experiences which I can tap into with the next thing I write. Remaining stuck in life, I have found, leaves one stuck in their writing too.
YS: You were also a member of the famed 'Cthulhu Conglomerate' of the early 80s & 90s. What was being part of the Conglomerate like?
DC: Yes I was, and what a group that was. For me, the biggest experience I got out of the group was the encouraging support from fellow writers. But let me step back a moment, and put the Cthulhu Conglomerate into context with its history for those who don't know.
The Conglomerate started back in the mid-1980s with only a few members, writing games and presenting them at conventions. Quickly the group drew together talented writers and gamemasters who really made the experience of playing a Conglomerate scenario all the more worthwhile. Richard Watts, for example is an amazing gamemaster really bringing life to scenarios, and I remember him doing a spectacular job with presenting Devil's Children, much better than I ever could. The Conglomerate's lasting legacy came through their scenario publications, the quality of which improved as the years went on, eventually leading to professional presented tournament modules for sale at the end of a convention. Today many of those tournaments have ended up with collectors all over the world.
I joined in 1990, after playing my first Conglomerate scenario Tales of the White Heart by Phil and Marion Anderson (the original writers of Beyond the Mountains of Madness, before the Engans took over the project and made it their own. Later the Engans used some of the Anderson's material in their campaign). It was so much fun to play - modern day researchers trapped in the Antarctic wasteland, lost and alone. I still remember the scene where our Elder Thing tampered-truck consumed a character, then spat out his body dying quickly because all his bones missing. After the last session, I asked if I could join the Conglomerate, and that was it, I was a member.
Some of the other memorable scenarios include Mark Morrison's modern day Persons Unknown about amnesic patients in Scotland, trying to remember the horror that caused their memory loss in the first place, before the horror returns to finish them off. The first two His Master's Voice scenarios by Liam Routt and co. were also lots of fun, with investigators as a rock band of their own choosing in the late 1960s.
Many Conglomerate scenarios went on to be published by Chaosium and Pagan, including The Crack'd and Crook'd Manse and The Old Damned House in Mansions of Madness, Devil's Children as a stand alone book, Tatterdemallion by Richard Watts and Penelope Love in Fatal Experiments, and Richard Watt's scenario in The Exquisite Cadaver became Love's Lonely Children in The Stars Are Right! Many of the Conglomerate authors then went on to write material for Fearful Passages and Horror on the Orient Express under Mark Morrison's editorship while he was an employee of Chaosium back in the early 1990s.
Surrounded by so much talent, is it a surprise that I ended up writing for the game professionally?
DC: Liam Routt, the unofficial father and central ideas man of the Cthulhu Conglomerate keeps talking about reviving some of the still lingering scenarios and creating a Cthulhu Conglomerate web site. Nothing has happened for years, so I'm not sure if it ever will. I hope he does, and I hope that more of the scenarios make their way into fully-fledged Chaosium products. For example, Liam's Bride of Abhoth series, presented in three parts in three different conventions, would make an excellent 1920s campaign, featuring exotic locales as varied as Rhode Island, Haiti, Japan and Venice.
YS: Are you working on anything at the moment?
DC: I have several projects on the go, both fiction and gaming including several new Harrison Peel stories following on from The Spiraling Worm. Since most of my current projects with Chaosium are neither confirmed nor have their contracts been finalised, I can't really talk about them. They might go ahead, and they might not, that is the nature of publishing. Announcements of course will be made when the paperwork and manuscripts are completed. In the meantime I regularly make announcements on my web page (http://www.davidconyers.com) for those who are interested.
One project that I can discuss briefly is Cthulhu's Dark Cults, a fiction anthology of short stories following on from Arkham Tales. Set in the 1920s and 1930s they feature tales of the various sinister organisations found in the Call of Cthulhu game, such as the Hermetic Order of the Silver Twilight, Brotherhood of the Beast, Brotherhood of the Black Pharaoh, New World Incorporated, Cult of the Bloody Tongue and others. Possibly a release for 2008 or later assuming all goes well.
I'm writing a novel of course, but which writer isn't? It's a far future science fiction thriller, which is all I'm willing to say at this stage until I get it done and find a publisher.
YS: What advice would you give aspiring authors?
DC: Surround yourself only by positive and supportive writers, editors and publishers (get rid of the negative ones). Work out who you want to be as a writer in terms of not only your genre, but how much money you want to make, how much recognition you want, and how well known you are around the world. Then do everything you do in your writing career with this simple premise in mind. For example, I want to make at least a quarter million per annum as a science fiction novelist, produce one to two novels per year sold globally, and win all the top awards. So every action I take, I first ask myself, will this help me reach this goal. I'm not there yet, but I'm still focused! If I'm not focused on this goal, I know my chances are likely that I won't even get close.
As for writing for Call of Cthulhu, it is an easier start to a writing career than perhaps most gamers suspect, as there is a demand for good writers and not that much competition. That said, when thinking about a project, consider its commercial potential if you want to maximise its chance of getting published. For example, if I wrote Secrets of Equatorial Guinea instead of Secrets of Kenya, it doesn't have that much appeal. For a start, gamers in general have an idea of what Kenya is like but many will never have heard of Equatorial Guinea, the setting is connected to Masks of Nyarlathotep, the country is iconic to Africa, Lovecraft set a story there in Winged Death as did other Mythos writers, and the history of the country in the 1920s is well suited to the setting because a lot was happening at the time. Another example, there would be a lot more interest in a Gaslight supplement for the Old West, as opposed to a supplement for the English Civil War, which has far less popular culture associated with it.
Writing for the game how I got started, and what I learnt doing so helped with my fiction. The end result for me is that today I'm being nominated for awards around the world, plus I have a novel in print in less than five years since the publication of my first short story. Authors such as William Jones, Brian M. Sammons, Cody Goodfellow, David Witteveen and Penelope Love, all started with the Call of Cthulhu game before they started writing fiction, and all are doing well.
YS: What would you like to see for CoC that has yet to be done?
DC: I'd like to see Chaosium develop specific countries and cities in time and place as they did with H.P. Lovecraft's Arkham, Dunwich and Kingsport, but for other regions across the globe. These three books did this well, providing non-player characters when a police officer was required, or a journalist, a librarian, or a criminal and so on for the investigators to interact with. These books also described places where an investigator might want to visit, like hospitals, libraries, museums, speakeasies, hotels, etc. They also had plenty of scenarios to support the book, which is critical in my opinion.
The earlier guidebooks didn't do much of this, presenting more of a travelogue that wasn't very easy to use in a gaming setting. That trend started to change with Secrets of New York and San Francisco, and this was the approach I took with Secrets of Kenya. Specific locations that I'd like to see covered are Peru, Australia, Boston, Providence, the Congo, Morocco, India, the Pacific Ocean, Scotland, Paris, Istanbul, Shanghai, and revisions of the New Orleans, London, and Egyptian guidebooks. The Mythos Collectable Card game locations are a good indication where sourcebooks would work well.
Then for each Secrets of... setting I'd like to see scenario books specific to one time and place, such as Horrors of San Francisco, Horrors of Kenya, and so on.
I'd also like to see more modern day Cthulhu scenarios, especially in some of the more exotic corners of the world, such as Africa, Australia, the Middle East, South America, and so on.
For the Dreamlands how about Secrets of Ulthar or Secrets of Celephais?
YS: Do you consider yourself more of a Lovecraftian or a (Call of Cthulhuian)?
DC: I'm not really sure if I could classify myself as either. I like the Cthulhu Mythos setting, especially the science fiction elements such as Lovecraft's At the Mountains of Madness, The Shadow Out of Time and The Whisperer in Darkness, and from Charles Stross' A Colder War and The Atrocity Archives. Most of Lovecraft's contemporaries focused upon the horror elements of his legacy, not the science fiction, and that is in part what I'm trying to accomplish with The Spiraling Worm. Perhaps I'm a Science Fiction Mythosian.
YS: What are your favourite films?
DC: There are lots of favourites. For horror there is The Ring (Naomi Watts version), Constantine, Angel Heart, The Mummy, Pan's Labyrinth, Alien, Dark City, The Sixth Sense and 28 Days Later. Science fiction would be Blade Runner, The Matrix Trilogy, Akira and Aliens. Thrillers include Shallow Grave, Trainspotting (I'm a big Danny Boyle fan), Casino Royale, Goldeneye (and a big James Bond fan), Memento, The Bourne Identity, Flight Club, Raiders of the Lost Ark and Blood Diamond. For fantasy The Lord of the Rings trilogy which was brilliant, the Harry Potter movies, and Crouching Tiger, Hidden Dragon. I do wish there were more good science fiction movies.
YS: What would a typical day be like for you?
DC: I don't really have a typical day, not with a new baby and fluctuating contract jobs. Anything can happen at any moment! Perhaps that is good though, lots of variety.
YS: What would you like your epitaph to read?
DC: He didn't die. This epitaph is just here for you people who don't believe he could have lived forever.
YS: David Conyers, Thank you.
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