The best thing about Twitter is that it offers you a chance to chat with folks you've admired for a big chunk of your horror-loving life on a level playing field. You both have 140 characters to say what you have to say, and unlike at a convention, you're not being rushed along so that the other fans can get their time in with their hero as well.  So it was a surreal delight for me to be tweeting about watching SILENT NIGHT DEADLY NIGHT III (read the Fango Flashback here), only to have Bill Moseley himself reply back a few minutes later.  I couldn't help but ask him about the movie a bit, but then realized that his recollections deserved a better venue than my Twitter feed, so just for you guys, I got him to answer a few questions about his experience working on the film.  Enjoy!

Every year at holiday time, film critics and bloggers love to trot out their top-ten lists of seasonal genre classics, sometimes bolstered by a few new additions from the direct-to-video heap. All of which is to say that if you read a lot of genre mags, you’ve probably seen a lot of the worthy classics and curiosities by now. Enter THE MONSTER’S CHRISTMAS, a 1981 New Zealand oddity so obscure that–despite a no-frills region 1 DVD release in 2004–even genre buffs in its home country don’t seem to know about it.

Ask anyone about the SILENT NIGHT, DEADLY NIGHT series, and they will probably laugh, then either defend it or decry it, possibly offering the same examples to back their pro or con stance ("It's awful, it has a killer Santa!"/"It's amazing, it has a killer Santa!"). But they might be surprised to discover that the series has five installments (six with the recent remake), as it's the sort of title that a lot of people know but haven't actually sat down to watch, let alone follow it to direct-to-video land with the bulk of its sequels (only Part 2 played theatrically, and barely at that). It didn't help that the lesser known entries were given a poor release on DVD via Lionsgate, who dumped VHS transfers of the third, fourth, and fifth installments onto a multi-pack of bare-bones discs and slapped a killer Santa image on the cover, despite the fact that none of the films contained within featured a killer Santa.

Despite the shatteringly good, brilliant THE CABIN IN THE WOODS and the fact that I have happily found more than ten titles to wholly endorse as genre films worth seeking out, I can’t escape the sentiment that 2012 was in fact, a weak year. Is it the aimlessness of horror at the moment?

Horror was all over the map in 2012, in both senses of the phrase. We saw movies from across the globe—including an impressive first stab at the genre from Israel—and exercises in every subgenre imaginable. And my pick for the very top of the year’s offerings combined them all into one film.

Adam Green sounds a little sleepy when Fango speaks to him the day after his FEARnet comedy series HOLLISTON has wrapped its second round of episodes. “This season,” he explains, “we started [HOLLISTON] after we finished photography on HATCHET III, so until last night, I hadn’t really slept since May—but I never want to go home.

Australian writer/director Greg Mclean—who delivered the goods with the gritty blood soaked nihilistic outback slasher WOLF CREEK and the clever, subversive and fun killer crocodile flick ROGUE—is now unleashing a monster-hunting maverick in the vein of an Indiana Jones type with his new creation SEBASTIAN HAWKS. But this adventurer will not be found on the silver screen (well, not yet). Right now, he’s comic creation that needs your help.