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Development Hell
Book by Mick Garris
- GenresHorror
307 pages, Hardcover
First published August 1, 2006
3 people are currently reading
44 people want to read
About the author
Mick Garris
42 books56 followersMick Garris is a producer, director, screenwriter and novelist specializing in the horror genre. He has had his hand in dozens of films and television shows, published several works of fiction, and is perhaps best known for his long and fruitful association with author Stephen King.
Garris was born in Santa Monica, California, and grew up in the San Fernando Valley. He began making home movies at the age of 12 and started working as a freelance film and music journalist while still in his teens. An avid musician, he was the lead singer of the band Horsefeathers until its demise in 1977.
Garris’ first job in the film industry was doing publicity for Avco-Embassy Pictures, where he produced “behind the scenes” documentaries for numerous genre films. This led to a stint as the host of THE FANTASY FILM FESTIVAL, a TV talk show airing on L.A.’s legendary Z Channel, in which Garris interviewed many high-profile actors and filmmakers.
His big break came when he was hired by Steven Spielberg to serve as a writer and story editor on AMAZING STORIES (1985). Spielberg asked Mick to direct an episode based on one of this stories, and he has been writing, producing, and directing ever since. This led to more work as a director on FREDDY’S NIGHTMARES (1988) and TALES FROM THE CRYPT (1989), and as the co-creator of SHE-WOLF OF LONDON (1990-91). During this period, Garris also co-wrote the screenplays for *BATTERIES NOT INCLUDED (1987), THE FLY II (1989) and HOCUS POCUS (1993).
His first feature film as a director was CRITTERS 2 (1988), followed by PSYCHO IV: THE BEGINNING (1990). In 1992, Garris began his association with Stephen King when he was selected to direct the author’s original screenplay for SLEEPWALKERS. Pleased with the results, King chose Garris to helm the epic mini-series based his novel, THE STAND (1994), which went on to become one of history’s most highly-rated television shows.
Garris and King followed up with a three-part TV adaptation of THE SHINING in 1997. Garris went on to direct QUICKSILVER HIGHWAY (1997), based on two stories by King and Clive Barker, VIRTUAL OBSESSION (1998), THE JUDGE (2001) and LOST IN OZ (2002). He and Stephen King reunited for RIDING THE BULLET (2004) and DESPERATION (2006).
In 2005, Garris created the Showtime anthology series MASTERS OF HORROR (2005-06), which featured contributions by him and other leading filmmakers specializing in the horror genre, including John Carpenter, Joe Dante and John Landis. A spinoff anthology series followed: FEAR ITSELF (2008-09).
In 2011, Garris published his first novel: Development Hell. This was preceded by the short story collection, A Life in Cinema (2002), and followed by the novellas Snow Shadows (2013) and Tyler’s Third Act (2013). His new novel, Salome, and another novella, Ugly, will be released in 2014.
Garris returned to his roots as the Creator and Host of POST MORTEM (2010-11), a genre-themed talk show airing on FearNetHD. Recently, he produced and directed another mini-series adaptation of a Stephen King novel, BAG OF BONES (2011), and served as Executive Producer of the feature film UNBROKEN (2014), directed by Angelina Jolie.
He has directed episodes of PRETTY LITTLE LIARS and its spinoff, RAVENSWOOD, and WITCHES OF EAST END, and currently has several series and features in development.
www.facebook.com/mick.garris
Garris was born in Santa Monica, California, and grew up in the San Fernando Valley. He began making home movies at the age of 12 and started working as a freelance film and music journalist while still in his teens. An avid musician, he was the lead singer of the band Horsefeathers until its demise in 1977.
Garris’ first job in the film industry was doing publicity for Avco-Embassy Pictures, where he produced “behind the scenes” documentaries for numerous genre films. This led to a stint as the host of THE FANTASY FILM FESTIVAL, a TV talk show airing on L.A.’s legendary Z Channel, in which Garris interviewed many high-profile actors and filmmakers.
His big break came when he was hired by Steven Spielberg to serve as a writer and story editor on AMAZING STORIES (1985). Spielberg asked Mick to direct an episode based on one of this stories, and he has been writing, producing, and directing ever since. This led to more work as a director on FREDDY’S NIGHTMARES (1988) and TALES FROM THE CRYPT (1989), and as the co-creator of SHE-WOLF OF LONDON (1990-91). During this period, Garris also co-wrote the screenplays for *BATTERIES NOT INCLUDED (1987), THE FLY II (1989) and HOCUS POCUS (1993).
His first feature film as a director was CRITTERS 2 (1988), followed by PSYCHO IV: THE BEGINNING (1990). In 1992, Garris began his association with Stephen King when he was selected to direct the author’s original screenplay for SLEEPWALKERS. Pleased with the results, King chose Garris to helm the epic mini-series based his novel, THE STAND (1994), which went on to become one of history’s most highly-rated television shows.
Garris and King followed up with a three-part TV adaptation of THE SHINING in 1997. Garris went on to direct QUICKSILVER HIGHWAY (1997), based on two stories by King and Clive Barker, VIRTUAL OBSESSION (1998), THE JUDGE (2001) and LOST IN OZ (2002). He and Stephen King reunited for RIDING THE BULLET (2004) and DESPERATION (2006).
In 2005, Garris created the Showtime anthology series MASTERS OF HORROR (2005-06), which featured contributions by him and other leading filmmakers specializing in the horror genre, including John Carpenter, Joe Dante and John Landis. A spinoff anthology series followed: FEAR ITSELF (2008-09).
In 2011, Garris published his first novel: Development Hell. This was preceded by the short story collection, A Life in Cinema (2002), and followed by the novellas Snow Shadows (2013) and Tyler’s Third Act (2013). His new novel, Salome, and another novella, Ugly, will be released in 2014.
Garris returned to his roots as the Creator and Host of POST MORTEM (2010-11), a genre-themed talk show airing on FearNetHD. Recently, he produced and directed another mini-series adaptation of a Stephen King novel, BAG OF BONES (2011), and served as Executive Producer of the feature film UNBROKEN (2014), directed by Angelina Jolie.
He has directed episodes of PRETTY LITTLE LIARS and its spinoff, RAVENSWOOD, and WITCHES OF EAST END, and currently has several series and features in development.
www.facebook.com/mick.garris
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Displaying 1 - 8 of 8 reviews
August 1, 2013
Mick Garris is a talented and extremely likable movie director best known for having adapted a whole slew of Stephen King novels into film. THE STAND, BAG OF BONES, RIDING THE BULLET, DESPERATION, SLEEPWALKERS, and the miniseries version of THE SHINING are all Mick Garris films based on King's work. Additionally, Garris is known for his dual role as producer/contributor to Showtime's MASTERS OF HORROR anthology. With so many movies to his credit, few people realize that Garris started out his career as a writer, with his first screenplay being THE FLY 2. DEVELOPMENT HELL demonstrates that Garris' writing talents have matured rather than languished over the ensuing years. It is easily one of the best-written books I've come across in a very long time. As an extra treat for hardcore movie fans, Garris also puts his directorial experience to great use by giving readers an insiders' look at the movie industry. But don't expect to like what you see. Garris has an obvious love/hate relationship with Hollywood, and DEVELOPMENT HELL is mostly about selling your soul to the devil for a shot at cinematic immortality. It's also a novel about sex. Lots and lots of sex. Just FYI.
Too bad the story isn't nearly as involving as the craftsmanship of its telling. Truth be told, though, the plot of DEVELOPMENT HELL is a patchwork effort in which Garris welds a couple of his previously published short stories onto a new narrative framework. The result is a disjointed novel that moves along in a series of fits and jerks; a novel that lacks focus and wears out its welcome several chapters before reaching its conclusion. The main character is unlikable, whiny and almost impossible to root for. In the hands of just about any other author, this book would be an unmitigated disaster. Garris, though, manages by sheer literary prowess to elevate the material into something worth reading. That's not exactly a recommendation, but close.
Too bad the story isn't nearly as involving as the craftsmanship of its telling. Truth be told, though, the plot of DEVELOPMENT HELL is a patchwork effort in which Garris welds a couple of his previously published short stories onto a new narrative framework. The result is a disjointed novel that moves along in a series of fits and jerks; a novel that lacks focus and wears out its welcome several chapters before reaching its conclusion. The main character is unlikable, whiny and almost impossible to root for. In the hands of just about any other author, this book would be an unmitigated disaster. Garris, though, manages by sheer literary prowess to elevate the material into something worth reading. That's not exactly a recommendation, but close.
February 23, 2011
OK as a fellow horror writer it is easy to green with envy of any writer who has a blurb from Clive Barker, or Stephen King. You might be jealous if a writer has a blurb from director Frank Darabont (the walking dead, Shawshank Redemption) or maybe Richard C. Matheson. Yeah this book has blurbs from all those genre heavyweights. I was jaded about that because Mick Garris is a filmmaker, who has toiled in the B movie and Stephen King made for TV salt mines for years. I assumed his first novel would be ok with his friends returning favors with some kind blurbs.
The good news is that Mick Garris deserved the praise. As a director Garris has never really had the kind of budget to really let his imagination fly like some others in Hollywood, and with this novel you can see why titans of horror have trusted him with there work.
Development hell is a satire, not a yuck, yuck slapstick satire but a scathing insider look at Hollywood that is dragged through the horror gutter. Honestly though is true Hollywood often way more vile a detestable than our beloved horror genre.
Garris pulled a trick more than a few authors have done before taking what really feels like a short story collection and weaving it into a single novel. Skipp and Spector did this in Dead Lines. One thing that bothered me a little about the book is it is written entirely in first person and we don’t really know the name of the narrator.
We follow this character through a Hollywood career, each chapter follows different aspects of Hollywood horror. From making TV movies, to B-mvoies, to blockbuster movies that bomb it’s a insider’s look. I am a film nerd who read creative screenwriting magazines for years. I wonder if the average reader would get a lot of it, but you know it’s excellently written.
The novel takes a strange metaphysical turn towards the midway point but expands the setting in way, puts our main character into positions he couldn’t early on. It’s stranger and expertly told novel. I got to hand it to Garris I think he is a better writer of prose than film. I hope to read more in the future.
The good news is that Mick Garris deserved the praise. As a director Garris has never really had the kind of budget to really let his imagination fly like some others in Hollywood, and with this novel you can see why titans of horror have trusted him with there work.
Development hell is a satire, not a yuck, yuck slapstick satire but a scathing insider look at Hollywood that is dragged through the horror gutter. Honestly though is true Hollywood often way more vile a detestable than our beloved horror genre.
Garris pulled a trick more than a few authors have done before taking what really feels like a short story collection and weaving it into a single novel. Skipp and Spector did this in Dead Lines. One thing that bothered me a little about the book is it is written entirely in first person and we don’t really know the name of the narrator.
We follow this character through a Hollywood career, each chapter follows different aspects of Hollywood horror. From making TV movies, to B-mvoies, to blockbuster movies that bomb it’s a insider’s look. I am a film nerd who read creative screenwriting magazines for years. I wonder if the average reader would get a lot of it, but you know it’s excellently written.
The novel takes a strange metaphysical turn towards the midway point but expands the setting in way, puts our main character into positions he couldn’t early on. It’s stranger and expertly told novel. I got to hand it to Garris I think he is a better writer of prose than film. I hope to read more in the future.
January 28, 2013
When I was a youngster I watched Stephen King’s The Stand on television. I remember it was during the great mad cow disease scare and due to the combination of that apocalyptic film (and the hysterical news coverage) I got it into my head that we’d soon all be dropping like flies and I’d have to smother my family with pillows before the end.
Fortunately this never actually happened, but I was left with a love for that adaptation of The Stand, which years later I learned was directed by Mick Garris. I didn’t seek out Development Hell with Garris in mind; rather it became a very happy coincidence that the director who enthralled me in childhood would write a book I would so thoroughly enjoy almost two decades later.
Development Hell is a long crawl through the shit-pipes of Hollywood. Our protagonist (the archetype of Hollywood hack: huge ego and zero talent) rises and falls over and over like waves on a turbulent sea, forever given chances and each time blowing them in spectacular fashion. And yet, as despicable as the lead character is, the world as seen through his eyes remains an honest one, a true depiction of the shallow excesses of the industry.
I was drawn to Development Hell after reading the first chapter in a short stories splatterpunk compilation and although the novel never reaches the same heights as that first gruesome tale, the narrative is interesting, witty and even touching at times. You can never quite bring yourself to root for the main character, although you do identify with him, a peculiar mix that captures his own self-loathing perfectly.
I would recommend this book to anyone who knows enough about the film industry to appreciate the satire, even those with weak stomachs who would be put off by the (brilliant) opening section. There is much more to this book than graphic sex and nauseating descriptions: brutal self-deprecating hilarious honesty.
Fortunately this never actually happened, but I was left with a love for that adaptation of The Stand, which years later I learned was directed by Mick Garris. I didn’t seek out Development Hell with Garris in mind; rather it became a very happy coincidence that the director who enthralled me in childhood would write a book I would so thoroughly enjoy almost two decades later.
Development Hell is a long crawl through the shit-pipes of Hollywood. Our protagonist (the archetype of Hollywood hack: huge ego and zero talent) rises and falls over and over like waves on a turbulent sea, forever given chances and each time blowing them in spectacular fashion. And yet, as despicable as the lead character is, the world as seen through his eyes remains an honest one, a true depiction of the shallow excesses of the industry.
I was drawn to Development Hell after reading the first chapter in a short stories splatterpunk compilation and although the novel never reaches the same heights as that first gruesome tale, the narrative is interesting, witty and even touching at times. You can never quite bring yourself to root for the main character, although you do identify with him, a peculiar mix that captures his own self-loathing perfectly.
I would recommend this book to anyone who knows enough about the film industry to appreciate the satire, even those with weak stomachs who would be put off by the (brilliant) opening section. There is much more to this book than graphic sex and nauseating descriptions: brutal self-deprecating hilarious honesty.
December 21, 2014
How do I rate this book? It seems nearly impossible. I'll start by saying that Mick Garris is an extremely talented prose writer. He has a very literary style. I highlighted several passages in the book that were excellent. He crafts beautiful sentences. But the plot of the book itself is a disjointed mess. This isn't a novel so much as a group of short stories with thinly-written transitions to paste them together. As short stories, they would be pretty good. Each individual story is competent to splendid on its own. But there is barely an over-arching plot, and despite the sometimes intoxicating use of language, it took me months to get through it. It was the longest 300-page book I have ever read.
I loved Garris's protagonist's love-hate relationship with Hollywood as he seems to be destined to burn everything he gets involved with to the ground. Some people are like that. I didn't mind that he wasn't likable. Some people aren't. But without a single over-arching plot, the book was jerky, akin to getting on the ferris wheel only to find out it is a bumper car. It doesn't work for me. It feels like something slapped together rather than something carefully crafted.
That being said, I would love to see what Garris can do with a carefully crafted cohesive plot. The talent is there to do something special. But whatever this experiment was, it comes off as deformed.
I loved Garris's protagonist's love-hate relationship with Hollywood as he seems to be destined to burn everything he gets involved with to the ground. Some people are like that. I didn't mind that he wasn't likable. Some people aren't. But without a single over-arching plot, the book was jerky, akin to getting on the ferris wheel only to find out it is a bumper car. It doesn't work for me. It feels like something slapped together rather than something carefully crafted.
That being said, I would love to see what Garris can do with a carefully crafted cohesive plot. The talent is there to do something special. But whatever this experiment was, it comes off as deformed.
March 13, 2015
Development Hell, by Mick Garris, features a nameless antihero who works, lives and dies in Hollywood; he's a screenwriter and director whose work is very poorly received. He falls in love, then loses everything when his wife has a stillborn child, after which he commits suicide in a very public manner; from that time on, he is a disembodied spirit looking for flesh to inhabit. Whenever he finds a host, however, he manages to ruin that individual's life as well.... I really, really hated this book. Not so much for the writing (which is adequate) or the frequent hackneyed blasts against Hollywood's soul-sucking nature (Garris is himself a screenwriter and director, mostly of horror films), but because of the way the protagonist relates to women, which is entirely and solely through sex. Even when he's "in love," the reader learns nothing of the woman he loves except that she is very beautiful and what sexual positions she prefers. I frequently felt like I was reading porn - and not very good porn at that. In addition, the book is divided into chapters that read as loosely connected short stories rather than a coherent narrative, but that is really a minor quibble compared to the utter sleaziness and shallowness of the main character. Don't waste your money on this; Garris's films are much, much better.
January 7, 2008
I was unsure of where Mick was taking me with this story, and had almost put it down. But somewhere along the line my interest was aroused, and looking back, I am now amazed where I've been visiting. An interesting concept oddly told. The MC screwed himself, conceived himself, and suckled himself.
This entire review has been hidden because of spoilers.
Want to read
August 27, 2011Stephen King recommended. He says: "Mick Garris writes like a combination of Robert Bloch and James Ellroy, hardboiled noir with a ghastly little prick of the devil’s own pitchfork."
July 29, 2012
Very meh. I recall reading the opening chapter as a short story at one time. Did not get much better really. Good thing I got it 1/2 off as a mobi file from Cemetery Dance.
Displaying 1 - 8 of 8 reviews