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Interview with Steve Niles of "Remains" on Chiller 12/7/11
Syfy REMAINS Q&A w/ Executive Producer Steve Niles
December 7, 2011 1:00 pm CT
Operator: Ladies and gentlemen, thank you for standing by. Welcome to
the Steve Niles Remains conference call.
During the presentation all participants will be in a listen-only mode.
Afterwards, we will conduct a question-and-answer session. At that time
if you have a question, please press the 1followed by the 4 on your
telephone. If at any time during the conference you need to reach an
operator, please press star 0. As a reminder, this conference is being
recorded, Wednesday, December 7, 2011.
I would now like to turn the conference over to Mr. Maureen Granados
from Chiller. Please go ahead, maíam.
Maureen Granados: Hi, everyone. Thank you so much for joining us today.
Weíre so excited to have to Steve Niles with us on the phone to chat
about Remains, which is Chillerís first original movie. And by now you
should have gotten the press kit. If you havenít, please let me know.
But, as you should know by now, itís going to premier Friday, December
16th at 10:00 pm on Chiller.
And Steve, you still there?
Steve Niles: Yeah, Iím still here.
Maureen Granados: Letís now turn it over to everyoneís questions.
Steve Niles: All right.
Operator: Ladies and gentlemen just as a reminder to register for a
question, please press the followed by the 4.
Steve Niles: Itís like a game show.
Operator: Our first audio question comes from the line of Erin Willard
with SciFi Mafia. Please proceed with your question.
Erin Willard: Hi. Thanks so much for being on this call. The trailer for
the movie looks terrific. Iím really looking forward to seeing the...
Steve Niles: Oh, thanks.
Erin Willard: ...movie. Were you involved in this production beyond
creating the source material?
Steve Niles: You know they kept me very close to it. Basically, I guess
the best way to call my role was, I supervised a lot. They ran the
script by me and I did set visits and I was in constant contact with the
folks at Chiller and Synthetic and they kept me involved at every stage
of approving makeup and like I said, the script.
But part of it is these guys really knew what they were doing and I felt
perfectly comfortable being on the coast while they were working on it.
But, they kept me involved quite a bit and I really appreciate that.
Erin Willard: Oh, thatís great. Now, so as an author what do you look
for when youíre approached by someone who wants to turn a graphic novel
of yours into a movie or a series?
Steve Niles: Honestly, enthusiasm for the material means more to me than
a big option. Kind of a good example is what happened with 30 Days of
Night. When we were selling 30 Days of Night it turned into a bidding
war and we had to choose between (unintelligible) was which one was
Maureen Granados: Hey, Steve, your phoneís breaking up a little bit.
Steve Niles: (Oh, it is)?
Maureen Granados: Yeah.
Steve Niles: Okay. (Unintelligible). Is it okay?
Maureen Granados: Thatís much better.
Steve Niles: Okay.
Erin Willard: Oh, there.
Steve Niles: Okay. Okay, are you - I donít even want to - this is so
embarrassing to tell you what that was. My wife forgot you canít run the
microwave when Iím on the phone.
So, Iím sorry, which part - what part didnít you hear?
Erin Willard: We didnít hear anything after you said the bidding -
started talking about the bidding war for 30 Days.
Steve Niles: Oh, yeah. So yeah, the bidding war for 30 Days of Night is
the perfect example of, - the thing was I really didnít care. There were
three studios bidding, they all had a lot of money, but I went with the
one that had Sam Raimi, you know, attached to it...
Erin Willard: Sure.
Steve Niles: ...because I know Sam knows horror, and that was very
similar with the guys from Remains. Andrew reached out to me from
Synthetic Cinema and he was very upfront about it. He was like, ďWeíre a
small company and weíve just done these things, but we really love this
material,Ē and he understood Remains too, which was really important to
And he didnít - because a lot of times what happens in Hollywood is
people will come to you and say, ďOh my, God, I love your book. Let me
tell you our take on it.Ē Itís like, ďBut, the book is the take.Ē And
that didnít happen with Chiller and with Synthetic Cinema. They wanted
to do the comic book, you know? They wanted to capture the spirit of it
and thatís shockingly rare. So, their enthusiasm is what really got my
Erin Willard: Oh, thatís great. Well, I canít wait to see it. Good luck
Steve Niles: Thank you.
Operator: Thank you. Our next audio question comes from the line of
Jenna Bush with Zap2it. Please proceed with your question.
Steve Niles: Hi, Jenna.
Jenna Bush: Hey, Steve.
Steve Niles: Hi, Jenna.
Jenna Bush: How are you?
Steve Niles: Iím good.
Jenna Bush: Hi.
Steve Niles: Itís nice to talk to you on here instead of Twitter.
Jenna Bush: I know, right? Well, I want to ask you about zombies and why
you think theyíre so popular. You know I love them, but I - what do you
think it is about it right now? Why are they so amazing?
Steve Niles: I think horror always reflects our general fears and
anxieties in society. And right now, without getting too serious, right
now weíre actually afraid of other people. Weíre afraid of disease,
weíre afraid of being invaded by people who look kind of like us, so you
know the way we sort of express those fears are through what better than
this mindless zombie hoard that wants to eat us. You know, these - our
neighbors. I mean, theyíre our friends and neighbors who want to kill us
and eat us.
So, I think zombies are a very, very basic way for us to confront those
fears too, because the reality of it, itís the real world stuff is so
horrifying and zombies are a great way for us to sort of work through
those fears, and thatís just something I feel about horror in general. I
always feel like itís a relief and we use it to like I said, to
illustrate what weíre afraid of, and then shoot it in the head, you
Does that make sense?
Jenna Bush: Totally, yeah, totally. And I have to ask you quickly just
because, you know, I love this stuff, Paradise Lost, where are you guys
on that right now?
Steve Niles: Iím writing a script that Iím pretty sure Iím going to have
to go into protective custody when the artist reads it, because if
youíve ever read Paradise Lost there isnít - once the war starts
everything is in the millions. So, for the first time in my life Iím
writing a comic book and Iím literally going like, I am so sorry, but a
million angels come swirling down.
But, Iím having - Iím really having a lot of fun with it. Iím working
from Alex Proyasís script, so not the poem. If I was working from the
poem I would not sound nearly as chipper. But, Alex Proyas wrote this
incredible script and thatís what Iím adapting. And he really figured
out a way to strip it down to the basic story where youíre dealing with
basically the story of Lucifer and his relationship to the Arch Angels
and how the whole division started, and Iím really having fun. I think
itís going to be - and then Michael Kaluta is doing the art, so if he
doesnít kill me itís going to be a beautiful book.
Jenna Bush: Awesome. I cannot wait to see it.
Steve Niles: Oh, thanks.
Jenna Bush: All right. Thanks, Steve.
Steve Niles: Oh, sure.
Operator: Thank you. Our next question comes from the line of Troy
Rogers with TheDeadbolt.com. Please proceed with your question.
Troy Rogers: Hi, Steve.
Steve Niles: Hi. How you doing, man?
Troy Rogers: Good. I just wanted to know, how does it feel to have the
first original movie on Chiller?
Steve Niles: You know this is really exciting for me because I really
like TV movies. I grew up with TV movies. Dan - I donít even know if
this name will mean anything to anybody on this call, but Dan Curtis, a
hero of mine, he wrote the show, the Night Stalker shows and Dark
Shadows, and I mean he was behind so much of these great things and he
used to do all these great TV movies.
And also, it used to be Richard Matheson used to write tons of ABC
Movies of the Week during the 70s and theyíre these really wonderful,
pretty much exactly this kind of stuff. They were Richard Matheson short
stories turned into movies for TV, so I just have this - a really
And I remember when they called I could tell there was - everybody sort
of like apologetic, ďDo you want to do a TV movie?Ē And I was - Iím
thrilled with it because, just Night Stalker being one of my favorite TV
movies of all time, you know? So, I remember when I got together with
these guys I started talking to them about these TV movies and sort of
got them in the spirit of it.
So Iím thrilled and then Chiller has wound up being just - theyíre
already like my family. Theyíve been so great in keeping me informed.
(Shane) and (Tom) and everybody has just welcomed me into the Chiller
family, and theyíve been - itís just been wonderful, and I cannot say
enough about the promotion on this. Itís hard for me to even watch
Chiller right now because I get sick of seeing my name all over the
So, Iím really excited and Iím excited about the movie too, because I
think it really came out fun.
Troy Rogers: Excellent. Good to hear. Well, hopefully that means weíll
see more of your stuff in the future.
Steve Niles: I - you know, letís just say there are talks. We are
Troy Rogers: Hey, good to know.
Steve Niles: Yeah.
Troy Rogers: One more quick thing, Steve, and Iíll let you go. I wanted
to know, what are you more partial to, vampires or zombies?
Steve Niles: Thatís a tough one. I have to go with vampires and let me
qualify that. The - my kind of vampires.
Troy Rogers: Okay.
Steve Niles: Mean, nasty vampires that donít want to seduce you; they
want to take your blood. I just - Iíve been writing them for a long
time, Iíve developed an affection for them, and as a writer thereís
slightly more you can do with that particular monster. Zombie stories
are great for telling stories about humans, oddly enough, while vampires
are great for telling stories about vampires because they are
technically still human and have brains and lives and emotions, and
things like that that you can play with. So, Iíd have to go with
Troy Rogers: All right, cool. Thanks again, Steve.
Steve Niles: Sure, man.
Operator: Thank you. Our next question comes from the line of Ryan Turek
Steve Niles: Hi, Ryan.
Ryan Turek: Hey, Steve.
Operator: ...please proceed with your question.
Steve Niles: How are you?
Ryan Turek: Whatís going on, man? Good how are you?
Steve Niles: Now, what are you, like a block away?
Ryan Turek: No, no, no. Whatís going on? Can you hear me now?
Steve Niles: Yeah. No, no, Iím just saying that I - itís hilarious...
Ryan Turek: Oh.
Steve Niles: ...weíre doing this when you could probably walk to the
Ryan Turek: I know. I know. So listen, Iíve got to as, you know, because
I think what needs to be brought up, I mean for those who havenít read
the Remains graphic novels is what separates the Remains zombies from
anything else that weíve seen?
Steve Niles: Well, really, I mean thatís a big thing I wanted to bring
up - or I want to talk about too, because I know a lot of people right
now, Walking Dead is so popular and thatís sort of the current version
of what people think zombies are.
When I sat down to write Remains, youíll - you remember this, it was the
time when Walking Dead was just starting to get strong as a comic, Land
of the Dead...
Ryan Turek: Yeah.
Steve Niles: ...was out. There was just sort of - there was a zombie
surge building. And when I sat down to do Remains I wanted to do
something different, and I wanted to do something that was a little bit
bigger than the - do they run or do they shamble?
And for that it seemed it like I had to come up with something that
could put the audience and the characters on edge, because letís face
it, now especially, everybody knows how to deal with zombies, you know?
You board up in the house and you wait it out. You shoot them as they
come to you, you know? But, in Remains that doesnít necessarily work
because of the event that creates these zombies thereís actually two
And one of them was slightly more advanced and theyíre eating the others
and theyíre evolving, and thereís - so you canít - in Remains you can
never sit back in your boarded up house and be comfortable, because the
zombies will sooner or later figure out how to either climb in or pull
the boards off, so I had a lot of fun with that.
I had a lot of fun playing with zombie conventions, because thereís not
just the Walking Dead zombies, thereís the George Romero zombies, the (Folchi)
zombies, thereís the Return of the Living Dead zombies, thereís the
remake of Dawn of the Dead zombies, and I really tried to kind of have
fun with all of them, you know?
Ryan Turek: Yeah.
Steve Niles: And thatís another thing and itís just a pet peeve of mine
with any genre movie it bugs me when everything is all the same. Like
when the Star Trek planet where everybody has blonde bowl cuts. Iím
like, ďHow did that happen,Ē you know? Now, so I figure in a world where
zombies are created and especially in Remains, is because of the human
accident that there would be variations of the disease of the - based on
the proximity to what happened.
Did that make sense?
Ryan Turek: Yeah. That...
Steve Niles: Do you...
Ryan Turek: ...totally made sense. No...
Steve Niles: All right.
Ryan Turek: ...and I need to ask you real quick, you had mentioned on
Twitter that somebody approached you about a stage production of one of
your properties. What was it?
Steve Niles: Yeah, Iíll tell you what, I canít say which property yet
because I havenít actually met with them. We want to make sure itís
possible. But, what I can say is itís going to be one of mine and Bernie
Ryan Turek: Right.
Steve Niles: ...essentially what weíre going to try to do is do a live
Bernie Wrightson comic. And...
Ryan Turek: Cool.
Steve Niles: ...Bernie will - Bernie wants to paint the sets, so...
Ryan Turek: Thatís awesome.
Steve Niles: ... Iím going to have a problem now with - the backdrops
are going to be original Bernie Wrightson art and Iím going to have to
like - theyíre going to be more valuable than anything. So, what weíre
going to try to do is do a live comic on stage.
Ryan Turek: Thatís awesome, dude. Thatís awesome. Very cool. Well,
Steve Niles: No, thank you. Good to talk to you, man.
Ryan Turek: Yeah, weíll catch up off the (cover).
Steve Niles: Okay, good. Okay, good then. Thanks so much.
Operator: Thank you. Our next question comes from the line of Steve
Eramo with The Morton Report.
Steve Eramo: Hi, Steve. Itís pleasure to speak with you today.
Steve Niles: Great meeting you. How you doing, man?
Steve Eramo: Very well, thanks. Listen, I want to find out maybe if you
could perhaps tell us what were some of the biggest production
challenges, you would say, bringing the Remains comic book in front of
the camera and then on to the small screen would you say?
Steve Niles: Well, the biggest thing is, and I run into this a lot with
comic books to movies. In a comic book you have no budget. I can do
anything I want. If I want 10,000 bikers coming out of the horizon, I
can do that. The artist will be mad at me, but itís not a budget issue.
So, the first thing we had to do was go through the comic and there were
a few set pieces that would have just been impossible, and if - people
who read the comic there is a biker scene in there that it just would
have cost too much money because it literally is hundreds and hundreds
of bikers approaching through the desert not realizing that theyíre
about to hit an entire system of wires...
Steve Eramo: Oh, geez.
Steve Niles: ...and so they all get sliced like deli sandwiches as they
ride into the city. The budget to shoot that was just way over the top,
so we had to come up with other ways to do it.
Iím really happy with Synthetic Cinema because the budget was a TV movie
budget, I am absolutely shocked at how much of the comic that they
actually got on film, you know? They did such a good job of figuring out
a way around all the - I donít want to give too much away, but thereís a
scene involving a circus prop for a sort of Cirque du Soleil-type
casino, I assumed that that would just be cut because itís so over the
top and so silly, and they found a way to do it. And not only...
Steve Eramo: Wow.
Steve Niles: ...did they, they found a way to do it so that itís really
effective. So, Iíve been really happy with this. I have always been a
fan of low budget horror. As a matter of fact, I think in the history of
horror most of our best films started with kids with not much money
trying to figure out a way to make the best movie possible. And...
Steve Eramo: Yep.
Steve Niles: ... I will point to the greatest zombie movie of all time,
which is Night of the Living Dead.
Steve Eramo: Yeah.
Steve Niles: It was shot for what, $70,000 on the weekends because they
were making industrial movies at the time. So, I think Synthetic, Andrew
and all the guys at Synthetic really did just a fantastic job, because
like I said, except for the biker hoard we got everything in there.
Steve Eramo: Awesome. Awesome.
Steve Niles: Yeah.
Steve Eramo: And you had mentioned you had done some site visits during
the production, and any particular, I donít know, any particular visit
or any particular day or scene being shot really stick out for you that
you can speak about without revealing too much?
Steve Niles: Yeah, I was so impressed with - I visited the set with Ted
Adams, who is the publisher at IDW, and weíve been on other sets,
Hollywood sets, and one of the things we noticed is when youíre on a
Hollywood set itís like, ďBoy, they spend about nine hours shooting
about 15 seconds,Ē you know? It just - it can get really tedious.
These guys, man, they moved in like a strike team. They came in and had
this hotel. They had the scenes set up in the various rooms they were
going to go to and we watched them go room to room. I mean, and it
wasnít Ed Wood, Reckless, it was, they knew what they wanted. They had
everything set up and spread out so they didnít have to break everything
down and reset up, so we watched them just go scene to scene to scene.
It was incredible.
They just moved around and everybody - and it was really great watching
the cast because Grant, who plays Tom, Grant Bowler, he was on set to
get the zombies riled up and thereís a scene where thereís a - without
giving the plot way, thereís a scene with an electronic door.
And they shot it, and so I guess they did about eight or nine takes
while I was there, and everyone got better because as everyone, all the
actors and the director, all came together and would go like, ďOkay,
this is what weíre doing and this is great,Ē and it was a real group
effort. There was nobody standing around looking bored, (doing it) -
everybody was involved and I hope that spirit of fun comes through
because it was just great.
And so thereís a scene with a sliding door, thatís all - I donít want to
give anything away, so thereís a gag that I watched them shoot and I
just - it was really fun seeing how they did it.
Steve Eramo: Steve, once again, thank you so much for your time and I
look forward to seeing more of your work on Chiller in the future.
Steve Niles: Oh, thank you so much.
Steve Eramo: Take care.
Steve Niles: You too.
Operator: Our next question comes from the line of Joe Nazzaro with
SciFiNow Magazine. Please proceed with your question.
Joe Nazzaro: Hi, Steve. Best wishes from another New Jersey boy.
Steve Niles: Oh, thanks. Where are you in Jersey?
Joe Nazzaro: Iím in the distant reaches of Park Ridge down in Bergen
Steve Niles: Oh, yeah, I was born in Jackson...
Joe Nazzaro: Yeah. (Unintelligible).
Steve Niles: ...and my mom is in Ledgewood right now, so...
Joe Nazzaro: Well, now that weíve just bored everybody else thatís on
this call, let me...
Steve Niles: Oh.
Joe Nazzaro: ...get to my question.
Steve Niles: Hey, sorry, guys.
Joe Nazzaro: For those of us that have followed your career pretty
closely, Steve, you seem to have a wonderful knack for figuring out or
anticipating what the next wave of the genre is going to be, so you
manage to do that with vampires with 30 Days, with zombies with Remains,
and even now the Frankenstein book that youíre doing with Bernie seems
to be coming out before this next big wave of Frankenstein projects.
What do you sort of use as your guideline, in terms of what sort of
things you want to write, or do you just sort of come up with whatever
you think is cool and hopefully the rest of the world will catch up?
Steve Niles: I was just going to say Iím just a fan of this stuff.
Everything Iíve ever done has - you know 30 Days came out of I just
wanted to do something -I mean I didnít get paid. When we did that comic
it was for free. So, Ben and I had an opportunity to do a different kind
of vampire, so I did that.
Itís just Iím a huge, huge horror fan. I mean I donít think thereís,
especially with the classics, I donít think thereís anything I havenít
seen ten times. And so I have that thing in me where I want to do my
versions, but nothing in me wants me to - I have a complete aversion to
just doing what somebody else did before, so I always want to try to
come up with some sort of fresh new take to - but thatís coming - it
really is coming out of the spirit of fun.
I know I - for a horror writer I use the word fun a lot, but thatís
really what it comes from, you know? The Frankenstein book is - I
carried Bernieís Frankenstein book around, the first one, when I was
kid, and now Iíve grown up and Iím working with him on the sequel, you
know? I mean, Iím the luckiest kid - monster kid on earth.
And it really is just enthusiasm because I genuinely love this stuff and
I would be doing it whether they were being made into movies or comics,
Iíd be doing it anyway. And thatís what I did my whole life, I had this
reputation of being very prolific, when in fact Iíd just been writing my
whole life and I just have a lot material piled up, you know?
So, I have never felt like Iím predicting anything or Iím ahead of any
curve, thatís a dangerous road to go down, trying to predict trends. So,
I just do what I like and just do what I love and I happen to love
Frankenstein, vampires, and zombies.
Joe Nazzaro: Well, this is tangentially related question, but Iím sure a
lot of us would like to know if there are any plans to do anything with
Cal McDonald, either for the small or big screen? And I couldnít help
thinking in the course of this conversation, you know, with this
introduction to Chiller it would seem like an awfully nice place to
maybe do something with the character if heís not spoken for already.
Steve Niles: Well, he is spoken for. Right now Cal is being developed at
Universal Studios for a feature movie. And after being through multiple
studios we finally have - Universal really gets it. And theyíre letting
us do it as an R, because for years people wanted me to do it as a PG-13
movie and I was like, ďHave you read the comic?Ē Like thereís really not
a lot of PG-13 stuff to Cal.
As a matter of fact, I had breakfast with Mike Richardson from Dark
Horse yesterday and we discussed it, and we will hopefully have some
really good news in, Iíd say, the next six months or so, but Iím
continuing with the comics. As a matter of fact, I turned in the latest
installment of Criminal Macabre yesterday, and so weíre keeping the
comics going, weíre going to bring the novels, weíre going to reprint
those, and keep all that going.
But yes, thereís - something will happen with Cal McDonald and if it
doesnít pan out as a horror movie, I agree with you that I think it
would be a wonderful series, especially just because, thereís, I donít
know, I hate to say this, but thereís 20 years of material. Iíve been
writing him for 20 years now, so we could have many seasons if we got it
Joe Nazzaro: All right. Well, thank you, Steve.
Steve Niles: Oh, thank you so much.
Operator: Ladies and gentlemen as a reminder to register for a question,
please press the 1 followed by the 4 on your telephone.
And our next question comes from the line of Sheldon Wiebe with
EclipseMagazine.com. Please proceed with your question.
Sheldon Wiebe: Hey, Steve. Thanks so much for doing this.
Steve Niles: Of course. How you doing?
Sheldon Wiebe: So far so good, and you?
Steve Niles: Good. Good.
Sheldon Wiebe: Excellent. I was wondering, because most zombie movies
are usually completely post-apocalyptic in so far as we donít know how
it happened, itís so much of a (fete accompli), so to speak, why did you
devise such a specific way to get the ball rolling? And I was wondering
if there were any other ideas you used or you were considering for that?
Steve Niles: Well, in the - I hate to give a really simple answer, but
in the comic I did it because it was funny, you know? I mean it was the
- I really wanted to go for the absurdity of the situation that, here we
are finally figuring out that weíre going to disarm and itís Peace Day
and something goes wrong, and Peace Day winds up being the end of days.
So, it really was - I was going for something and I was trying to do
something a little different, because most zombie movies donít explain
it, so I wanted to try to explain it. And I needed to because I knew
that I was going to try to do this thing with different varying degrees
of zombies. You know that there are different ones, depending on who was
closer to the event, what happens, you know, what kind of zombie you
So that kind of came out of just trying to do something different.
Sheldon Wiebe: Cool. I noticed that the cast was particularly spot on
and I was wondering, especially in the case of Evalena Marie, whoís -
Toni (sic) is just perfect...
Steve Niles: She (is).
Sheldon Wiebe: ...how much input did you have with that?
Steve Niles: You know what, that was them. That was - Grant and Evalena
just read the comic, understood their characters, and did it. And I was
so pleased because Tom and Tori arenít the most flattering characters.
Tomís not the brightest bulb, and Tori is not the nicest girl, and
because to me, I love flawed characters and especially flawed characters
who hate each other.
So, I thought they played it so well and thereís some moments where
Grant plays off his sort of his - itís not - heís not stupid. Like I
said, heís just a little dim, so I love his reaction when people like
his ideas. And I just - I was really glad that they embraced that
because I tell you, thatís the kind of thing that would be - if that was
a Hollywood production, Tom and Tori would become perfect people, you
know? Theyíd become perfect people with slight problems, as opposed to
playing them like real people who are a little flawed.
So, I honestly couldnít be happier because what youíre seeing there is
what the director did and what the actors did on their own, reading the
script and reading the comic and understanding their characters.
Sheldon Wiebe: Well, it certainly worked. Itís a lovely movie, and I...
Steve Niles: Oh, thank you.
Sheldon Wiebe: ...(unintelligible)...
Steve Niles: Thank you so much. I have not seen the final cut yet. So...
Sheldon Wiebe: Oh, itís a (unintelligible)...
Steve Niles: I havenít seen it with the - Iíve seen the cut, but not
with the effects added, so Iím very excited to see it.
Sheldon Wiebe: Youíll love it. Thanks so much.
Steve Niles: Thank you. Thank you so much.
Operator: And we presently have no further questions at this time.
Maureen Granados: Okay, great. Well, I think that about then wraps it
up. So Steve, thank you so much for joining us today.
Steve Niles: Okay. Sure.
Maureen Granados: And if anyone needs anything else regarding Remains,
just feel free to give me a call, 212-664-4143 if you need a press kit.
Weíll send that out to you and weíll also be emailing a transcript, so
you can look for that tomorrow.
And again, thanks so much for joining and Remains will premier this
Friday, December 16, and I should also mention that weíre going to do a
Webisode thatís going to come to ChillerTV.com this Friday, December 9.
Itís a little bit of a prequel, so if you need some - thatís kind of
just to get the ball rolling if you canít wait for the 16th, so if you
need more information on that let me now as well.
Steve, have a great rest of your day, as well as everyone else. Thanks
Steve Niles: Thank you guys so much.
Maureen Granados: Bye.
Steve Niles: Bye-bye.
Operator: Ladies and gentlemen that does conclude the conference call
for today. We thank you for participation and ask that you please
disconnect your lines.
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