But Marco's true love is, and always has been, horror cinema. Pursuing his dreams while at Oxford, Marco also studied filmmaking at the eminent Oxford University Film Workshop and produced and directed a couple of short films. Years later, he took more film courses at George Mason University and at the Smithsonian Institution.
In addition to its cultural importance, Marco sees film as the grand fusion of art and science, so he is deeply interested in the technologies that drive filmmaking, and keeps himself up to date on the latest advances in cinematography and special effects. Then, perhaps it is not coincidence that some of the research work he does for the Department of Defense involves the exact same technologies as those used by Hollywood to create movie magic. As such, every year he is an active contributor at Siggraph, by far the most important computer graphics, animation and digital effects conference.
Marco has also been offering his expertise in digital technologies to an independent film company associated to the University of Missouri in Columbia, where he taught an intensive course on computer animation and digital effects. While there he also starred in a major role and helped in the production of the upcoming Mil Mascaras vs. The Aztec Mummy the first US production in the legendary "Mexican Masked Wrestlers vs. Monsters" genre (formerly known as Mil Mascaras: Resurrection. Film reviews can be found here , here , and here .
In addition to cinema, Marco is also interested in military history, science, technology, criminal psychology, and sagas of world exploration. He listens to movie soundtracks and he is currently doing research on the evolution of horror film music. Marco has read most of the books by Tom Clancy, Michael Crichton, Frederick Forsyth, Stephen King, H.P. Lovecraft, David Morrell and the Douglas Preston-Lincoln Childs team. His favorite books include Lovecraft's At the Mountains of Madness, Forsyth's The Day of the Jackal, and Richard Matheson's I am Legend. Marco equally enjoys reading graphic novels about seriously disturbed superheroes such as Batman, The Punisher, Spawn and Venom.
Although I fully appreciate and enjoy the creepiness and morbid elegance of The Texas Chain Saw Massacre, I firmly believe that Lifeforce is a more complex, stylish, and electrifying film.
This enthralling book brings together a collection of 12 case studies where horror narratives have been used to improve the teaching of philosophy, psychology, gender studies, film, and classical literature.
Watching Phantasm II is like having a horrifying nightmare: we may become restless and frightened during the dream, but when we wake up we are able to realize the absurdity of the situation.
Except for the squeamish and the virtuous, everybody else should be able to enjoy this depiction of those nightmarish metaphysical horrors that apparently surround our godforsaken existence.
The Doctor and crew are “goaded” to violence, exterminating the alien creatures without prejudice while maintaining their moral viability. Thus, the complexities of post-colonial ideologies are reduced to a conflict between good and evil.
Both The Possession and The Exorcist portray the painful demonic possession of a young girl who is already suffering because of the divorce and separation of her parents.
Freed from the chains of history and the bonds of mortal life, this figure of unmitigated evil is free to roam all spheres of modern popular culture.
Victor Halplerin's White Zombie is crucial to understanding the evolution of the zombie as a horror archetype, and allows the viewer to appreciate the revolutionary deconstruction of the undead conducted by George Romero in Night of the Living Dead.