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Kevin Neece was born and raised in Austin TX. He grew up an only child, watching a non-stop onslaught of vhs tapes from the local video rentals, and got into the hobby of copying the video tapes using multiple vcrs and editing video mixtapes. He was raised on a diet of Troma Films and Dark Horse Comics anti hero series: Comics Greatest World and The Mask.
Kevin got into screenwriting around the age of 15, but quit after three screenplays and went on to focus on raising a family and working in retail. He met his first wife in 2002, married her in 2003, had a daughter with her in 2004, and remained married to her for 15 years. Sometime around 2008, he was drafted as the volunteer webmaster for director Josh Becker's website where he spent a lot of time watching old movies at the recommendation of Josh's Extensive Film Knowledge.
In 2009-2010 Kevin lost his career in retail and took a dishwashing job at Alamo Drafthouse Lake Creek out of desperation. It was there he met his friend Austen Crothers, who edited the lobby videos, and helped give him some insight into the making of their Cult Thursday screenings. Kevin noticed the line-up of films wasn't very good, as if they were just pick cheap $5 films out of the bargain bin, and offered to help pay the licensing fees to get some better cult films, and his fascination with the Preshow Mixtapes got him back into Video Editing. Kevin's ambitions were admirable, and he got a line-up of The Projectionist, Simon King of the Witches, Boss N*****r, and Fairy Tales, but in the process of paying the licensing fees, he accidentally "booked" the movies, and he did it without running it by the creative director. Being undermined by a dishwasher, this started a personal vendetta between Kevin and Alamo Drafthouse. Kevin saved his money and tried to get into 35mm print collecting, and got his hands on a 35mm print of Ken Russell's Lisztomania, and privately screened it for his co-workers, curating the preshow, and about twenty people showed up. But none of his bosses did. After putting so much time, money, and effort into putting on a show only to be intentionally dissed by the management, Kevin walked out three days later on his daughter's birthday.
Kevin had plans to move his family to South Austin to live in his grandmother's house for free rent, working as a caregiver, and once he got a dayjob, he could use the extra money to go into renting out theaters to put on film screenings and editing video mixtapes. But the jobs never came, and Dobie Theater shut down. Kevin started putting his efforts into a music video mashup style of preshow editing, but the damage had been done. Alamo Drafthouse refused to look at anything he made, stating that no theater in America would ever run his work. In 2011, Kevin became fascinated with an Alamo Drafthouse show called Horror Remix, and knew that some of the employees had discarded leftover copies from past shows. Upon getting some from a friend, he made the mistake of telling EJ, the show's editor, that he had copies, and it accidentally resulted in one of Kevin's projectionist friends losing his career. Somewhere around that time, Kevin was introduced to the Anime Series, Ah! My Goddess, via a theatrical screening of the first disc of Flights of Fancy as a part of their Anime at the Alamo Series. From that point on, he was hooked and watched everything the show and the manga had to offer two times over.
As job after job turned Kevin down, he began to fall into despair. But he experimented with editing mashup shows similar to Horror Remix, and even learned how to remake the Horror Remixes at home that he didn't have access to. In 2014, Kevin began to attribute his backtracing trick to the Alamo Drafthouse Preshows, where he realized that they were outsourcing a majority of their preshow material off of youtube. Kevin collected around 350 preshows over a period of four years, and as his own private joke revenge, gave the preshows back to the employees in envelopes, knowing that Alamo Drafthouse would never look at them, mistakenly thinking he was trying to submit his own editing work. The original preshow curators that Kevin was copying were: Laird Jimenez (main editor), Sarah Pitre (girlie night), Craig Ries (sing alongs). One day, he received a message from the theater that it was no longer necessary to turn the discs into the theater. They let it go. Kevin then realized that they had held their employee appreciation day on the same day that he had walked off the job at Lake Creek, and considered the coincidence to be a sign from God that he should let things go.
In 2016, when Kevin was attending a Garth Manor screening of Benjamin R Moody's Last Girl Standing at Alamo Drafthouse Village, he was hunt down by an old Lake Creek co-worker named Michael Ludlow, who had recently gotten into Public Access, making a television show called Zombie Life TV. Michael had been roommates with Kevin's old friend Austen, and had been watching all of the early editing work that Kevin had been sending him years ago. In Michael's own words, Kevin had an amazing ability for peering through two hours of garbage films and finding little five second nuggets of gold. Kevin was shocked. Michael wasn't aware of his ability to collect Alamo Drafthouse preshows. He wanted Kevin to edit the Horror Montage background end credits based on all of his early work that had repeatedly been rejected by Alamo Drafthouse.
In exchange for his mixtape editing work, Kevin was taught the duties of a technical director, where he got to work the switchboard in the control room for both Zombie Life TV and Fanboy TV. It was there he was introduced to Gavin Stone, Eddie Rotten, Brenda Dickerson, JP Provins, Saul Ravencraft, Lydia Gallardo, Tom Timbrooks, Nick Lybrand, Robert Chaney, Captain Burton, and a bunch of others. Kevin was responsible for switching the camera angles during the live broadcasts and cutting in the graphics videos (in addition to making the Horror Mashup end credits). While he was working there, Kevin wrote a fan fiction series called Bad Goddess, which was intended as a satire of the tv series Ah My Goddess. Kevin also got to meet director Frank Oz (of Little Shop of Horrors) and he got to work on a Pittsburgh Penguins Ice Hockey background mixtape for a Jumbotron in email collaboration with BC Furtney (director of New Terminal Hotel, starring Stephen Geoffreys). BC Furtney's response to Kevin was, "So you want to be a director, let me know when you release your first movie."
Kevin was somewhat dismayed as he had no stories to tell, and decided to take the risk adapting Bad Goddess as a Storyboarded Fake Studio Pitch Fan Film series using stock animation he screencaptured and photoshopped off the Flights of Fancy dvds. Kevin's theory was that, because fan fiction could not be copyrighted, if he went out and made the series, nobody else could steal it either. He wouldn't be able to make a distribution deal with it, but he could release it on youtube and archive.org as long as he was honest about the bootleg nature of it. Kosuke Fujishima and Kodansha LTD, could've easily sued him for his efforts, but chose to ignore the series in silence even though Kevin sent them emails explaining what the show was. Kevin's show could be considered a blatant act of copyright infringement, but at the same time, all of the copyright owners characters crossed each other out and protected Kevin's work from being stolen even though he could never own it.
In 2017, halfway into Zombie Life TV's third season, the show was cancelled. Kevin was going to stay on with Fanboy TV, but some nasty gossip about a conversation he had with Logan Gordon concerning an old abusive relationship with Michael Ludlow got leaked around the station, and everyone was offended by Kevin's attempt to stay out of if, mistakenly thinking that he condoned Michael's actions. Kevin was not only scandalized off the station, but feared that it was Karmic Backlash for the Projectionist incident back in 2011 when he accidentally got his friend fired from Alamo Drafthouse Lake Creek. Kevin knew that if he ever continued on with his career somehow, the incident would be dragged out again to haunt him, and he felt that his station friends did it intentionally as the Ladies of Fandom were looking to get rid of him from the outset because of a vendetta brought on by Courtney Manor.
Kevin decided to make the best of things, going to a birthday party concert held by Brenda Dickerson at Kick Butt Coffee, and in his attempts to video record the show using his iphone7, realized he could shoot feature length documentaries on his phone for youtube. Kevin was able to use these Documentary Films, along with Zombie Life TV, and Bad Goddess, to build himself an IMDb resume as a director. Kevin's idea, was that the behind the scenes lives of the ZLTV cast and crew were much more interesting than the variety show they were putting on in front of the television cameras, and that all of the stars and past guests should be explored documentary style. Instead of making a bunch of fictional films, he would dedicate his film career to following the lives of his own friends, which could be shot for nothing on an iPhone. While Kevin doesn't have the industry clout to make distribution deals, he printed up dvd case copies for the local I LUV VIDEO and Goodwill so that his films would be lost within the video archives to be found by trash film collectors later in life.
Kevin eventually followed up Bad Goddess Season 1 & 2 with a third season called Marller Gets a Spinoff, which would be a crossover series with other Anime Shows like Doctor Who, Those Who Hunt Elves, Hellsing, Ghost in the Shell, Najica Blitz Tactics, Ex-Driver, Bubblegum Criss, Bio Booster Armor Guyver, Angel Tales, Love Hina, and A Certain Magical Index. While Kevin originally intended Bad Goddess to be a short and contained series, he continues to work on the cartoons month by month, as nobody has tried to stop him and the series costs nothing to make and post online. And in-between them, he adapt Kosuke Fujishima's other manga series into video comic format as a hobby (such as Paradise Residence, Toppu GP, and the original Oh My Goddess). Kevin sticks to the work of Kosuke Fujishima, as Fujishima has never had full control on how his work has been adapted to the screen and Kevin wants his video comic adaptations to be the most faithful versions of his work as possible.
