13 QUESTION MARKS OF HORROR

Xan Cassavetes Talks Kiss of the Damned With Sinful Celluloid

noreply@blogger.com (Sinful) — Tue, 09 Apr 2013 14:23:00 +0000

Kiss of the Damned is available on VOD now! If you are ready for a totally unique vampire experience then this is the ideal Easter flick. The mastermind behind the film is the legendary Xan Cassavetes, daughter of John Cassavetes and Gena Rowlands.We sat for a cup of coffee at Studio City's horror headquarters, Jumpcut Cafe and discussed The 13 Question Marks of Horror...

1. You come from a great show biz family. Was film your first love?

I don’t know if I’d call them “Showbiz”. They were pretty Arts ‘N Crafty, not fancy, not into Hollywood, made their own movies, paid for them themselves so it was pretty mellow and not flashy, but No. Just like any other kid doesn’t want to do what their parents do because it seems “Lame” or “Parental”. I grew up in a really good era, I’m 47, when I was like 12 or 13, I was already starting to go to all the Punk Rock clubs. There were no age limits back then. It was a Mafia run state instead of a Police run state so it was a good time to be growing up. So I was obsessed with going to the Punk Rock clubs and seeing all the bands that would come from London or whatever. It was a SUPER great time to be 12 or 13. I stayed obsessed with music until finally I formed my own band which I was in for 10 years. After Punk Rock and Post Punk, then there was the Hip Hop movement and I was in New York for that, it was just like this incredibly magical time to be coming of age, starting a band and be in love with music. So no, I didn’t want to make movies at all until I started making movies for my band and for other people’s bands and then I still didn’t think of it.

2. What finally brought you to making movies?

I had a kid and my way of getting peace was to go write and then I started writing screenplays and they were so weird and I was so attached to them that I thought “Well I’m gonna make these movies”. So it came full circle. My brother and my sister were directors too. I don’t think any of us started out thinking we were gonna jump into directing.

3. You’ve tooled around with shorts and a documentary. How different was it jumping into a horror feature?

I made shorts but the first real thing I did that was a concentrated job was the Z Channel documentary, which was a big editing time. It was the best thing ever because it was a total film nerd boner. It was relatively simple because you know the guy it was about was Jerry this great guys every in his life was super brilliant and articulate with the best stories so is very simple and in a fabelistic sort of way. My own passion fueled the whole thing for me I was so into it. I didn't know if anybody else would even care but they seem to care a little bit.

4. How did that style change with Kiss of the Damned?

This movie was different because it was done really quickly and there were no rehearsals I was just very much instinct. I have three lead women who are French and that wasn't bad, it was just challenging because their playing this melodrama with French accents at her like crazy, but to construct the atmosphere which kisses down to really build on atmosphere, and strength offsetting, and things like that. It was just so much more to play with that making a documentary.

5. Kiss of the Damned is your first feature. How did this film come together?

I was about to make this other movie which I have been trying to take for like five years which is the bigger budget for a psycho sexual love story that takes place in Mexico City. And I finally got that together I realized there was really out of touch with something I had written five years or and I want to just do something that I thought of and for the moment that was really immediate so although the other movie was bigger I was able to convince some of the investors to just give me a fraction of the money and go shoot this crazy French vampire movie and Connecticut had happened super quickly. I started writing over Thanksgiving and we were shooting by May. It was out of control.

6. Can the film be interpreted different ways?

When it does happen and you don’t have time to think, your subconscious comes so into it. There is so many things in that movie there is a subconscious thing that you're like Oh My God, I thought this was a vampire movie but so much of it is biographical, even philosophical, but you'll never know that because it happened so fast.

7. I love the classic Euro Horror, especially Hammer Horror. What films influenced Kiss of the Damned?

I love H Hammer. I love Nosferatu by Werner Herzog. You do sound design the atmosphere it just the most creepy and fucked up vampire movie ever. I love Trouble Every Day, I love the Jean Rollin vampire movies, not as much as I love his other movies, but I love those. I just love the idea these beautiful sexy women in vampire movies, sorry. And as far as vampire movies I love Mask of Satan, I love Mario Bava, obviously when you seeKiss of the Damned and she you'll see that I always admired his lighting. I'm obsessed with this Viscante as well as far as applying that something more sinister, just a lot of different things, not necessarily horror things, but using a lot of different things to create a vampire movie.

8. What can you tell me about the plot?

It’s about a lonely woman, vampire, living in this house that she staying in temporarily and this man she meets a video store, because they love movies, and fall instantly into an attraction and an identification. And its about the guy being drawn into this mystique of women. Starting with this woman but there are more and more women, bad ones, good ones, but this one that he's after is a lovely person. It's also about her fear of her own power and that she could be discovered as a non-attractive soul. Which I think that women, particularly beautiful women, have this issue. Speaking strictly in the context of a vampire film, it's really kind of about a guy who becomes obsessed with the mystique a woman without really knowing her and gets himself in a situation where he would voluntarily wants to be bitten. He actually brings it upon himself, forces the issue, because he wants to go the extra mile. Like someone might have a unprotected sex with a suspicious woman in that moment where they can justify all recklessness. She takes him in and is very afraid that he will actually know her and her insanity, and the chaos she brings and they try to have this love affair until the sister comes to stay in the house for a week, on her way to vampire rehab, and she is burned all these bridges, has nowhere to go and she kinda tips over this love story.

9. Is it effects heavy or more character driven?

There's hardly any effects, it's very old school. Share a few effects at the end but they're very tiny. There's one VFX’s shot, one killing scene. Everything seems carries them very naturally, very organically.

10. Tell me about the search for Djuna. How did you settle on Joséphine de La Baume?

I producer had heard of for, she was an agent provocateur model and also she's in a Pop band and there's a consciousness of her in London and France. And then she showed me one picture of this girl's face and I was like, what? It was just like that old school beautiful face like Sharon Tate. You know they don't make those faces anymore. And I just thought, I have to meet this girl. We were skyping back and forth her I loved her personality and I love her attitude she was just one of those girls that's my kind of girl who will do anything like live sees herself for maximum effect. Not like a prissy repressed bitchy bore. She's not into her PR, she's into her life as a performer somebody that embodies something she's really good in the movie, she's a good actress.

11. There have been so many teeny bopper vampire incarnations over the past few years. Was it personally satisfying to bring the vampire some dignity again?

Because twilight was so huge and it's in the consciousness people want to compare it to my movie and it's like what? Twilight is great, I took my daughter to see it when it came out, it's for children. Do people really want to sit around criticizing their mood is made for 13 year olds? As far as giving the vampire is back some dignity, one has always take the chance of taking away some dignity because it's such a philosophical opportunity. Not just have "I’m in a sheer dress and I’m gonna bite you" that's cool too, but the idea of everlasting life in the idea of beauty and the idea of loneliness, just the nightmare of eternal life and not being able to live a normal life is more interesting to me. There is a dignity in pain and that's why I loved Nosferatu so much. Klaus Kinski is like get me the fuck out of here, my life sucks. When he bites people it's a perversion that he does against his own will. There are vampire movies for children and vampire movies for adults and I don't make films for children.

12. This film has a lot of excitement buzzing around it. Is it daunting?

Some people really hate this movie, simply what I really hate it because it's not gonna give them what they expect to get out of it and some people who will be excited by the fact that it didn't give them what they expected to see out of it. Me personally, I find myself in this horror world right now because I made this movie but to me I'm really not into being conservative about the way I think her live or make a movie. I don't want to hit all the official acceptable marks. While I'm excited that people want to see the movie I also know that there will be people I think would love it who will hate it and people they think will hate it who will end up loving it.

13. What do you have lined up next?

I have three or four different projects that are all a variety of things. I wouldn't say that there horror but they're all in the super we are tricked out fantasy department is expedited I think. I like messing with the genre make it so weird that you will never recognize it.

Other Horrific Musings:

13 Question Marks of Horror With American Mary's Tristan Risk

13 Question Marks of Horror with Hail Satan's Denesa Chan

13 Question Marks of Horror: Wrong Turn 2 's Mathew Currie Holmes

Shock Till You Drop's Ryan Turek: The Sinful Celluloid Interview

Dear God No! 's Madeline Brumby - 13 Question Marks of Horror

noreply@blogger.com (Sinful) — Tue, 19 Feb 2013 23:58:00 +0000

If you've seen Dear God No!, the greatest exploitation flick since the golden age of exploitation flicks, then you've seen Madeline Brumby. A talented screen and stage actress, Madeline takes the world by storm with her performance as Edna, a sheltered and odd young woman with a secret or two. I was able to catch up with her as she sets to begin filming the next great Jimmy Bickert exploitation opus; Frankenstein Created Bikers. Join us for 13 question marks of horror...

1. You started acting after college. Was acting always your first love?

How about my closet love? Storytelling and cinema have always been huge passions of mine, but I didn’t admit that I wanted to be an actress until the semester I was graduating. Go figure…it took me a while to come out!

2. Dear God No! has raised the bar of independent horror and exploitation. How would you describe it to the uninitiated?

Jimmy Bickert definitely took me to exploitation film school. DEAR GOD NO! is the ultimate grindhouse film. It is disturbing, offensive, hilarious, horrifying and amazing. You can’t even call it a tribute. It was shot on super 16mm film and all the effects are practical. It was a wild and wooly ride, but definitely one of the greatest experiences of my life.

3. Dear God No! has a very authentic look and feel. Were you a fan of the classic 70s exploitation films or was this something new to you?

Pretty new, I have to say. I had seen clips of various 70s exploitation and biker flicks, but never watched a movie to completion. Looking back, I think this was for the best, as most of the actors from these types of movies really didn’t have formal training in acting, or really knew what they were getting into. It’s really part of the whole “charm” of the genre!

4. How did you come to be cast in the film?

I was searching for work and stumbled across the ad for Edna. I distinctly remember reading a brief description and that “some nudity” was required…I thought, what the heck… Might as well give it a shot! I sent my headshot and resume off and, I’m not kidding, within about 10 minutes Jimmy responded and said “You have exactly the look I had in mind when I wrote the script.” I auditioned and a few weeks later in front of Jimmy, Shane, and Nick and performed a Mr. Bean monologue (ha!) and read the sides for Edna. Jimmy followed up the next evening with “We watched the tapes last night and thought you were fantastic. It was nice meeting you and we apologize for our scruffy appearance. We're just excited about our biker cameos so we have been letting ourselves go a bit...attached is the script."

5. With a film this wild, have you met with anyone who was truly offended?

Not yet…They’ve always left the theatre before I had a chance!

6. Where there any parts of the film that were difficult for you as an actress?

I struggled with the aftermath of filming the rape scene. I was determined to deliver the performance without having to do multiple takes, not only for my sake, but also, to not waste the film. I got pretty worked up, and channeled a lot of deep, buried emotions. I didn’t talk to anyone once we finished and stayed away for about a day to recuperate. I wasn’t mad; I was just psychologically drained from the sincerity of the performance.

7. Director James Bickert had a very specific vision. Was your character laid out for you or were you allowed to flesh her out a bit?

Jimmy explained my character was based on early feminist Kate Chopin’s character Edna Pontellier mixed with Gustav Flaubert’s Emma Bovary tossed into a 70s exploitation picture. He also did not want any deviations from the script. I thought that was quite the challenge, but was glad to take it. Developing her went beyond all expectations. As a result, Edna Marco has been the role I’m most proud of.

8. Edna is such a weird character with a lot going on with her. What did you use as a reference?

I referenced Jill Banner’s performance of Virginia in Spider Baby. I was particularly intrigued by the use of her hands as a twisted dynamic to her already crazy character. I don’t think she’d even had any training before making the film, but her physical acting is my favorite part of her performance. I tried to channel a bit of the weird, almost nervous tick behavior with my hands as well…I think it helped. But, probably the best reference was me as a teenager. I was pretty introverted and depressed. I’d say most of those dark emotions were exercised/exorcised during stabbing of Evelyn Marco.

9. Dear God No! has got to be one of the wildest flicks of all time. What crazy stories can you share from set?

Wow! There are too many to choose from! My favorite is actually when my costume didn’t make it to the last day of shooting at the waterfall. About an hour into the drive to north Georgia Jimmy was like, “well, looks like you’ll have to do the final scene nude”. Fortunately, I had slept in my famous white, granny panties (so I, at least, had those) but I was never supposed to do the final scene naked. Even though it wasn’t the original plan, Edna being stripped bare, really made the final scene more intense, more artistic, and more fun to watch.

10. On the film TSC 3, you stepped up to the Associate Producer role. What was the difference for you wearing multiple hats?

It was extremely educational. I learned a different, and very stressful side of filmmaking. I booked the location (which was also the location of the interior scenes of the Marco’s home) and helped orchestrate scheduling. I don’t think it’s something I’d like to do in the future with filming, but I certainly learned a great deal.

11. You recently did Dracula's the rock opera which is an insane ground when all stage play. What can you tell me about it?

From musicians, score, and performers, the show is oozing talent and potential. Rob Thompson essentially turned Bram Stoker’s writing into lyrics. With the help of Naomi Lavender, Chris Love, and Sam McPherson, Thompson created the greatest musical interpretations of the classic. Del Hamilton and Justin Welborn staged and directed, and Shane Morton (the art director of Dear God, No!) production designed the world premier this past October. Dracula: the Rock Opera is “rock” as in there is a live band, and an “opera” as in there are no spoken words. I had the privilege of playing one of Dracula’s wives and Lucy’s mother. It was definitely my favorite stage production I’ve ever done, and hope I have to opportunity to do it again. The CD is amazing, and will be released soon.

12.From a performance standpoint, are you more comfortable in the theater or working in film?

I am really quite comfortable in both. I enjoy film acting the most, though. There is such a closeness captured by film that the audience can’t obtain watching a stage performance. I feel film is more accurate to how the mind interprets what it sees. Stage is wonderful, don’t get me wrong as you can’t beat a live audience, but the audience never gets to be as close as the camera.

13. One last thing. I understand that you will be returning in Frankenstein Created Bikers. Can you tell me anything about your character in it?

I’m missing my body…So, I’ve been studying The Brain That Wouldn’t Die and Reanimator because those are the two best performances by a head in a pan that I’ve ever seen!

Keep an eye out for Madeline in the near future on stage and in film. If you haven't yet, pick up Dear God No! You'll be glad you did.

Other Horrific Musings:

Bikers vs. Bigfoot! Dear God No! (2011)

Dear God No!'s James Bickert-The Sinful Celluloid ...

Exploitation Theater: Candice Rialson in Pets (1974)

13 Question Marks of Horror With American Mary's Tristan Risk

noreply@blogger.com (Sinful) — Wed, 23 Jan 2013 15:01:00 +0000

Photo: David Buzzard Photography . Graphics Manipulation: Sinful Celluloid

During the American Mary American Tour last October, I was lucky enough to spend some time with Tristan Risk, the Hellion behind the character of Beatrice. Beatrice is a Mod who's desire is to be Betty Boop. Not an easy character to bring to life, but done with skill and empathy. With the UK BD/DVD release on January 21st, we had a little chat about Beatrice, Mary, Burlesque, and the 13 Question Marks of Horror...

1. You have a powerful presence on and off stage. Is that something you had growing up or did you develop that power since becoming a performer?

I have been an onstage performer since I was a small child. I’m not sure that a ‘power presence’ is something you can really develop as a talent or not, but any of my family will happily tell you that I was always looking to draw attention to myself during childhood (not so much in my teens during that surly and rather misanthropic stage). Being the kind of child who would somersault across the front of the congregation during a Sunday sermon sans underwear, I would think that there is a degree of these things that come a little TOO naturally...

2. You have an insane repertoire which includes fire eating (a sideshow staple), Magic (in many ways the polar opposite of sideshow), Baking, Writing, the list goes on. What was your first love?

It’s always been dance and movement and the desire to entertain. Burlesque dancing was my first reintroduction to the stage in adulthood. I was involved in dancing and stage shows from the time I was quite small and then it tapered off to finally stopped during my teens. I was too busy being a painting, pot-stirring, disenfranchised youth dressed in thrift store goth clothes (we didn’t have the luxury of Hot Topic in my day, rather the Vancouver local Cheap Thrills and Kabbages and Kinx). After a minor break, I discovered burlesque by accident, which brought me back to the stage in my early 20s. As years go by, in order to keep the romance alive, you learn to incorporate different and ambitious ideas into one’s routines in order to keep the spark there, at least for one’s own self. Adding quick-change magic, fire, hair hang and a variety of circus tricks through another troupe I worked with kept it fresh and interesting. But as a small child I would recite Monty Python sketches, T.S. Elliot and Ogden Nash poetry, taking drawing requests from my poor parent’s dinner guests and so on. All my passions (cooking/baking/dancing/singing/acting) all tie in to the single-minded desire to provide entertainment and art to the people around me.

Photo by: Shimona Henry

3. You are known for your impressive Burlesque shows. How has your act evolved from the first time to know?

The first burlesque act I ever did was a joke. Truly. I had been asked by a friend of mine to stand up out of a poorly (drunkenly) constructed cardboard cake and do a minor striptease and sing a rendition of Marilyn Monroe’s birthday wishes to the 35th president of the United States. He had a band and after in turn asked me to do a number to open for them and it grew from there. I never had much money to put into costumes when I started, so costumes were cobbled together with the best things I could scavenge together. Today, I tend to put more thought (and money) into costumes and props. Partly out of wisdom of experience, and also since competition in Vancouver has become so fierce among new talents, if one wishes to remain relevant in the scene, you find yourself finding ways to challenge yourself and raise your bar. If I could show my 22 year old self some of my costumes and props I’ve now, I’d probably pee with excitement.

4. What is a common misconception you deal with as a circus performer/burlesque dancer?

That I put out. No, seriously. It’s kind of flooring to experience the number of attitudes that because of how I choose to express myself that I’m a) available and b) interested. While I’m happy to report that myself and many of my ilk are hardly what you would call conservative or high-buttoned but it’s also rather presumptuous to assume that just because I’m doing a striptease on stage, that I’m going home with you. I’ve sat in front of two gents at a show and heard them ‘pick out’ the dancers on stage before us like it’s some kind open-season singles night. Oblivious to the fact that I was a fellow dancer and both girls they reverenced were married or seeing someone. It was a sad a moment as when you hear groupies lusting after the guys in the band. I apologize for being a party pooper, but it’s a show, kids. Not a dating game. Trust me, if I were to seduce you, there would be no question about my intentions...

5. You have a starring role in the new independent film American Mary. How did that come about?

Kismet, fate, call it what you will. The answer to that story begins a few years ago, when Corrine Lea (owner of the Rio Theatre in Vancouver, BC) gave me two free passes to see a film. A friend and I had been trying to get together for a ladies night forever (as one does) and decided that, no matter what; we would go to the Rio that Friday night and see whatever was playing there. What was playing was Dead Hooker In A Trunk. The titled couldn’t be beat and I didn’t realize that it was a special screening. I threw up into a oversized drink cup held betwixt my knees at the moment when Jen’s eyeball popped out during the film. I sent them a message on Facebook after telling them I enjoyed the film and if they did another that I’d love to be involved. Through a mutual friend, whom told them I was local and horror-obsessed, we kept in touch over the years, each party cyberstalking the other. Finally, when Mary was coming about they brought me on board and invited me to do the choreography for some of the dance sequences. They were still looking for a Beatrice though and I flim-flammed an audition for a the role out of them. Thus began our collective spiral into total madness and awesomeness.

6. Beatrice is a very complex and sad character. How did you go about fleshing her out on screen?

Beatrice is a funny one. When we alter our appearance on a permanent basis it’s because we are striving for our personal ideal. I can speak about that from the heart given that I practice waist training with corsetry, tend to wear distinct make up and hairstyles, as well as work out to gain a certain musculature for dance and circus performances. I sympathize with Beatrice in that she likely started with just doing her make up and hair one way to leading to the first surgery. But she feels ‘complete’. Her desire to help Ruby be the same can by sympathized by anyone who got a large tattoo started and feels lacking until the last bit of ink is in place, or struggling to lose/gain that last ten pounds. There’s lots going on in her head, but her best quality is seeing strictly the good in people and by embodying the qualities of Betty Boop, finding universal love in the people around her, who might otherwise think her a freak.

7. Do you feel she is responsible for Mary?

I think she truly sees Mary as a talent and in a light no one, even Mary was willing to view herself. I don’t know if she feels responsible for Mary, but I know she regrets her own weakness that deals the cards for her friend.

Photo by: Shimona Henry

8. Is the world body modification a part of your life or was it a new territory that you explore?

I’ve proudly been a mod for some time. When I was in grade 12, I wanted to study to become a tattoo artist. Instead, I left school after graduation and became a fine art restorer and framer. Not bad for my first job out of school, but it wasn’t the route I wanted to take. I got interested in corsetry through Melanie Talkington of Lace Embrace Atelier (http://www.laceembrace.com). I met her through a fashion show in my early 20s and went on to work with her for years. I’m still a customer (and occasional blogger) for her. I practice waist training, which is wearing a corset daily to reshape your body. While I also tight-lace (the practice of waist training while lacing down to extreme lengths) I don’t do it daily, but I do wear my corsets both over and under my clothes for between 8-12 hours a day, sometimes more. Unique for being one of the older forms of body modification, it can have permanent effects over a course of time, but is not instantly permanent as say, surgery, tongue splitting or ear tipping. Until the genetic mods like what they have available in Shadowrun are something available, I'll stick to cosmetic contacts and false eyelashes and silicone mermaid tails for my more animalistic looks.

9. The film is a gorgeous to look at. Was it difficult shoot or did it go pretty smooth?

The film was shot in 15 days. There was a two camera set up each scene so there was no need to reset up and shoot the same thing from another angle. After watching the Mary crew do what they do so professionally and efficiently I cannot fathom how the majority of major budget films can just throw money into black holes and drag out filming. Because of how wonderful the crew was and the fact that there was, in fact, two directors at all times working constantly, the whole thing got pulled off. It was my first time on professional film set, and I will say they’ve set the work ethic bar very high for any other afterwards.

Photo by David Denofreo

10. Can you tell me about your first day of filming?

The first day of filming and my first day on set were two different days; my first day on set I wasn’t working, but I was bored and wanted to see what was going on. I got to set in time to see Paul Anthony (Rat) coming into the make up trailer to get cleaned up. Considering how cold it was for November, he was holding up like a champ. Two of the MFX team were there taking care of him and keeping him going. I never did find out if they left a fake blood smear downstairs in the basement of the building (supposedly there is a gangster embalmed in concrete down there) where the scene was shot, but I didn’t get to confirm it. My first day filming I was doing my dance scenes at the Bourbon A Go Go, so it was two hours in the make up chair to prep, then top off and tits out. So it was suffice to say I was comfortable and at home. They did have a difficult time keeping clothes on me - partly since I’m so at home sans clothes and partly because of my burlesque background I like spending as much time possible in as little clothing as I can decently get away with. It was the opposite of boring that day.

11. You are under heavy prosthetic makeup in the film. Did you find it constrictive are was it freeing as an actress?

Not in the least. I found it unsettling to pass by certain reflective surfaces and see someone else’s face. In theatre I have done a lot of mask work and I love creating strange characters in my burlesque, so this was kind of a wet dream for me to play something so extreme. I think at this point it may be more of a challenge to do a film with my own face since there would be so much more to be aware of. On a strangely narcissistic note, while I know everyone will adore Beatrice, it’s a little daunting to wonder if when faced with my own features if I can still win people over in my next project...

12. If you have to chance to play Beatrice again in the future, where would you like to take the character?

Paris! Oh, you meant as a character study...

13. With the release of American Mary, I'm sure your fan base has grown exponentially. With your fans have to look forward to in 2013?

Well, if they are fans of music, I will be appearing in a music video for Crystal Precious alongside the rest of my troupe, Sweet Soul Burlesque for her new single ‘Apple Pie’ and the ladies of Sweet Soul Burlesque will be celebrating our 10 year anniversary! We will also be seen at Bass Coast music festival with a number of other yet-to-be-announced shows but you can check myself and girls out at http://www.sweetsoulburlesque.ca or follow us on Twitter at @SweetSoulBurlyQ and catch us every Thursday at the Keefer Bar in Vancouver's Chinatown. I’ve also got a few new projects on the go which if you stay tuned on my blog at http://www.littlemissrisk.ca or follow me at @littlemissrisk on Twitter I’ll keep you abreast of all the developing stories!

American Mary continues to tear up the world. Stay tuned for more interviews with the cast and crew of this groundbreaking film!

Other Horrific Musings:

Tristan Risk and American Mary do it again and ...

13 Question Marks of Horror with American Mary's Antonio Cupo

The Twisted Twins' American Mary - The Sinful Celluloid Review

13 Question Marks of Horror with Ginger Snaps and Final Destination 3's Jesse Moss

noreply@blogger.com (Sinful) — Wed, 23 Jan 2013 15:00:00 +0000

Jesse Moss is a familiar face and voice to horror fans, having starred in the now classic werewolf film, Ginger Snaps as well as appearing in Final Destination 3 (The last good one) and Tucker and Dale VS Evil. This kid has done it all, even voicing a character on one of my personal favorite animated shows, Mummies Alive!

You know what we were gonna talk about so let's get to it. The 13 Question Marks of Horror...

1. You've done a lot of horror and sci-fi over your career already. What film or experience first got you into horror?

I would say that Ginger Snaps was the first film I did that really got me interested and excited about the genre. It proved to me that it's still possible to get past the clichés and make a film that is original and intelligent, but that still satisfies the fans.

2. You've done quite a bit of voice work as well as in front of the camera. What are the differences between acting in for the camera and voiceover work?

You can go to work in your sweatpants. No, really the main difference is that with animation you have to rely solely on your vocals. You can't use body language or facial expressions to convey feeling, you have only your voice. This usually makes your style of acting much bigger and broader.

3. Odd question for you. I am a fan of Mummies Alive. In the wacky world we live in, do you think that that would make a decent live-action film in which you consider being in it after all these years?

Oh yeah! With the CGI that is available now it could definitely be done. The Walking Dead is one of my favorite shows, so I would love to see it more in the vein of that. Geared to more of an adult audience and playing on some of the darker aspects of the show.

4. You starred with Katharine Isabelle in what is now considered a werewolf classic, Ginger Snaps. What can you tell me about making that film?

It was a great time. We shot on location just outside of Toronto. It's always fun to shoot in another city. Location vacation as we say. There was a great energy on set with John Fawcett at the helm. It was a young cast and we all really got along. Katie Isabelle is one of my best friends to this day.

5. You also did Final Destination 3 with fellow Ginger Snaps alum Kris Lemche. As an actor do you find it more difficult to work on effects driven films or does that environment not really affect your performance?

That environment doesn't really affect me. If the effects are live then it can really help, and if you're dealing with a green screen situation then you just have to rely on your instincts and imagination. But that's what acting is all about anyway.

6. You’ve also done a lot of TV over the years. Which environment do you enjoy more?

If you're on a television series, then that can be a lot of fun. You're with the same people day in and day out for six to eight months straight, so you really form a strong bond. You become like a family. Day to day shooting though, I prefer film. You're not trying to shoot as many pages in a day, so you can take your time and really get into the work.

7. Let's talk Tucker and Dale vs. Evil. Have you been surprised by how much success that film has had?

I'm not surprised. The script was hilarious. Then you have Alan and Tyler leading the way. It was a recipe for success.

8. It seems like a fun film to do. Considering Alan Tudyk is in it, was there a lot of joking around on set?

There was. Both Alan and Tyler are very funny as individuals but when you get them together it takes on a whole new level. They would often do a dialogue series with their one liners. Each take would be funnier than the last. It was great to watch. Also, many of us "college kids" were friends from before the shoot so that makes for a very easy going atmosphere.

9. Let's flip the coin and talk about Dear Mr. Gacy. The intensity of the subject matter can be overwhelming. How did you prepare for that film?

Yeah, it was a very dark film and ultimately a tough one to shake off. I read as much as I could about John Wayne Gacy to try to understand who Jason was dealing with. To try to understand Jason's psyche, I researched bi-polar disorder and obsession.

10. Was it difficult to play someone who has lived and ultimately took their own life?

Whenever you play someone who actually existed you have a certain responsibility to them and their family. We didn't have much info on Jason other than his book The Last Victim, but we tried to stay as truthful as we could. Knowing that he tragically took his own life in the end certainly gave me insight into the kind of demons Jason was dealing with.

11. William Forsythe seems intimidating and brings such power to his scenes. Did you meet with him before the day of shooting or was it more of a method situation.

William is a very serious and committed actor, and it shows in his work. We had met before and discussed the scene, but he definitely kept me at an arms length and stayed true to his character.

12. It seems that you have a zombie film coming up as well called 13 Eerie. What can you tell me about that film without giving too much away?

I can tell you that we're a group of forensic students that get in over their heads when they go to study real corpses for a final exam. It's very creepy with a lot of action. These aren't your ordinary zombies. It's also Katherine Isabelle and mine's first film together since Ginger Snaps.

13. You seem quite comfortable working within the genre. Can we look forward to more from you in the future?

Most definitely. I'm a fan of the genre myself so I'm always looking for the next one I can sink my teeth into.

Other Horrific Musings:

Shock Till You Drop's Ryan Turek: The Sinful Celluloid Interview

13 Question Marks of Horror with Hail Satan's Denesa Chan

13 Question Marks of Horror with Silent Night Bloody Night: Homecoming's Andrew Jones

13 Question Marks of Horror with American Mary's Antonio Cupo

noreply@blogger.com (Sinful) — Mon, 07 Jan 2013 14:49:00 +0000

Antonio Cupo is an amazing actor currently burning up the screen in The Soska sister' American Mary. A gifted and talented actor who possesses angelic good looks and roguish charm, he can play a wide variety of roles and is equally believable in all. We caught up recently and discussed a little thing I call The 13 Question Marks of Horror!

Photo by Pablo Hernandez

1. You play Billy Barker, who really comes off as kind of a sleazy tough guy when you first meet him. But as we spend time with him, he really reveals himself to be a lost soul. What was your first reaction when reading the script?

I really just wanted to build a character that was real. Nobody has just one side to them and characters that do aren’t as much fun to play. I tried to infuse a character arc that I thought would be natural for a guy like Billy. Even thugs can change when it comes to love, with Billy it was more about measure and control so that he is steadily growing in human qualities until the end of the movie.

2. Billy is constantly surrounded by beautiful naked women. What is it about Mary that draws him in?

Billy is constantly surrounded by beautiful women but Mary is beautiful, smart and a partner in crime. Right from the beginning he is impressed with her level of education and she comes through for him immediately when she saves Rat from imminent death.

3. Was there a back story written for Billy or did you create your own as you were going through the process?

Sometimes backstories are used to help create the character, give the characters life. I already knew Billy Barker, there was only need to roll.

4. A great film tends to leave its mark on the actors in it. What mark did this film leave on you?

This film was a classic case and confirmation of "follow your instincts." I knew it had a magic quality when I met with the directors Jen and Sylvia Soska. Their passion was strong, I was just a piece of a very large puzzle that many helped put together.

5. Some actors have trouble with the violence, others with the emotional content of a script. Which was most difficult for you in American Mary?

I have no trouble with violence or emotional content. When you "live" you have lots to be angry about and emotion comes naturally if you are alive and honest. Violence is just pushing some of that emotion to extremes.

6. Billy is part street hustler, part pimp, and part artist trying to make his way in the big city. What kind of research did you do for the role?

Research starts happening when you decide to be interested in life. I knew plenty of interesting and strange people in equally strange and interesting positions. Every person I meet becomes a study if I feel they have something to offer. Billy is a combination of characters just as each one of us is. Often times you make discoveries about characters when you are shooting. A lot of Billy's "emotion" was discovered on-set.

7. What scene did you have to read during the casting process?

The scene I read during the casting was the final scene between Billy and Mary when he is seated at the bar and they discuss going to LA. One of my directors, Sylvia read the scene with me. I asked if I could do the scene standing (I hadn't read the script so I pulled the emotion from observing the directors physical attributes). It was the wrong choice but the idea was that it was real. It doesn't matter if the choice was right for the script, that happens later. The idea was to "feel" something ... I think we both felt something.

8. American Mary has many themes woven through it. What do think the film is about at its core?

The film is a comment on modern society. Figure it out.

9. You started off doing some of the most hailed shows in cable history. Was acting always your first career choice?

I knew I wanted to act but wasn't exactly sure how.. somehow acting kept on finding a place for me and eventually became a steady employer. I wouldn't know what I would be doing otherwise.

10. You’ve worked with some of the greatest actors of all time including F. Murray Abraham, Ben Kingsley and Dennis Hopper. What did you take away from those experiences?

Everytime I work with someone, I learn something new. I've learned things from kids on set and learned things from the greats. One thing remains consistent when working with amazing actors such as the aforementioned, getting to a place of greatness requires great humility. I've never seen a great actor go "Hollywood" even under the greatest pressures.

11. You experienced many different fandoms over the years due to your diverse career. Is there a difference between horror fans and the fan base you are used to?

Every fan experience is different but I'd have to say that my experience with horror fans is that they truly care about even the slightest nuances of the film/character. They don't want to know the gossip. They like dirt… but dirt on film.

12. You are also an accomplished musician, do you use your music to help you stay in character or is that a separate persona all together?

There is never a separate persona, it is all me. I play/write music and I act in film and TV. It’s all part of the journey, experiences that make up a life. I just do whatever I want to do and if someone wants to be a part of it, they can. I know I will be doing what I do unless it is no longer enjoyable or interesting.

13. Would you consider returning to the horror genre in the future?

Of course, I look for great projects not necessarily genre. My horror experience has been great so far as an actor, and I've always enjoyed horror movies as a viewer so I guess I will be "returning" very soon.. Bring on the blood.

You can currently catch Antonio as Marco Moretti on Bomb Girls and keep an eye out for American Mary which is on its way soon and available for UK pre-order here:

http://www.amazon.co.uk/American-Mary-Blu-ray-Katharine-Isabelle/dp/B009YXCKDE

Other American Musings:

The Twisted Twins' American Mary - The Sinful Celluloid Review

American Mary Joins The Original Home of Horror

The Soska sisters give Screamfest the American Mary makeover!

Shock Till You Drop's Ryan Turek: The Sinful Celluloid Interview

noreply@blogger.com (Sinful) — Wed, 12 Dec 2012 18:38:00 +0000

There are few horror journalists out there that have made the impact that Ryan Turek has. He has co-created or written for almost every major horror publication in the community and continues to inspire his fans and peers alike. As managing editor for ShockTillYouDrop.com he can often be found at community events and it isn't uncommon to see him hosting the latest film Q and A after a screening. Ryan did, however, take time from his busy schedule to sit for a cup of java and discuss...The 13 Question Marks of Horror...

1. You've been at this game for a long time. What movie or experience first got you in to horror?

My dad was a big book collector. He always bought Clive Barker, Stephen King; this was like the early 80s. He’d buy tons of first editions and stuff. Then one day he left behind the table copy of Cycle of the Werewolf. I think I was in elementary school. I sat down and started thumbing through it, and all of these great Bernie Wrightson pictures started popping out at me. You know, photos of like, the werewolf clawing the sheriff’s face, or like the werewolf on top of the truck, and I just remember all those vivid images of the werewolf, I was like man this is really cool. And also, with the book, he got this really great collector’s shirt, and I always wanted to wear it and he was like no, you’re not going to wear it. I still wear it to this day, I have it now. It's like kind of a baseball tee, but that was my first experience with horror per se, I didn't know what it was, I just knew it was something cool. I also liked the aesthetic of the illustrations. I just kept gravitating towards the artwork and since I was too young to read the book I didn’t catch up with it till years later. As far as movies go, Fright Night was my first experience. My dad took me and told me straight up that this is a horror movie, it's gonna be scary, but you can deal with it. We were in the car with my grandmother because she wanted to see it. We stopped in the middle of town and he says, I want don’t want to hear no crying, if you don't think you're ready for this, you know the way home, you can walk home. And I was like no, I got this. So I went and yeah, that was it, greatest thing ever. I was laughing, I had fun with it, I wanted my teenage experience to be like those guys. Just elements, and the sexuality, I was like ooh what is this? So yes, Fright Night, and a year later, The Fly and Aliens.

2. Growing up were you one of the weird kids in school or one of the cool ones?

I was neither, I straddled the line. I was neither cool nor excommunicated, you know, seen like a misfit. Because I knew how to juggle those worlds, actually I knew how to juggle all clicks. I was a chameleon. The cool kids were sort of fascinated by the fact that, I love to illustrate, I don't do it so much now, but back in the day, so like in art school, people were like, whoa what is that? But like the non-cool kids, the horror crowd, I've brought them all the cool stuff to show. I introduced two movies to my high school graduating year, Reservoir dogs and Dead Alive. Once I brought Reservoir Dogs that thing went everywhere. From the cool kids to the rejects, that thing saw so much use because nobody knew what it was. And then Dead Alive came along and everyone was like what is this crazy ass movie? So it became, hay Turek, what you got? So I introduced them to Evil dead, Evil Dead 2 and when Army of Darkness came along we got a group together to go see that so it was fun.

3. Your first film experience was on Jeepers’ Creepers 2. What can you tell me about that time?

Alright, this is my experience on that. When I first moved out here, I was going to be a screenwriter, that's what I set out to do. I dabbled a bit in postproduction and, you know, just took day jobs. Then I met this guy, Jared, still my best friend to this day. He was the assistant on the first Jeepers Creepers, and then when part two came along he was like; “we're looking for an assistant, what do you think?” I ended up doing that and it was an interesting experience, I wouldn't trade it for the world. For me it was all about work, it was all about a job. I got a firsthand account of how film works, how crews work, how the development process works, I was they're from the minute they said go on this project to the very end …and it was one of the most interesting experiences of my life. I got to spend a couple of hours with Francis Ford Coppola', chaperoning him around the set because he was visiting and I even got to pitch, kinda hold court at MGM back when MGM was MGM. They were trying to market Jeepers Creepers as a merchandising property. I went in, my boss was like; you run the meeting, this is you, you know this stuff. So I brought in comics, toys, masks, and was like, this is everything that you can do with the Creeper. You can do this this, that, and the other, and in the end, turn into a property that can be sold. I was like, I have no experience, I was like wow, but it was cool, it was a very cool experience. I spent a lot of time hanging out with the actresses, I spent a lot of time hanging out with the crew, and it was a good, good time. It was a lot of fun. In fact, one of my best friends on that production was the storyboard artist, Brad. His artwork was amazing and like in my closet somewhere I have the whole movie storyboarded and bound. It was really good experience.

4. How do you jump from a director's assistant on Jeepers Creepers II to a producer on the Nightmare Collection a year later?

So after Jeepers Creepers 2, I was in a relationship at the time were I just need a break, I needed to move out of town. My going belief at the time was to remedy the exhaustion of LA by moving to Northern Michigan. At the time I was also juggling running a site called Creature Corner, which was a division of Chud.com, it was CreatureCorner.com. My partner at the time, Johnny Butane understood that I need a break and was like; “You to run a website from anywhere”, so I did that. And while I was settling, trying to make a life out there, we decided to try and brand Creature Corner like a header for a DVD line and I forgot the filmmaker’s name, but he approached us about it. He was like; “Look, this is the deal, we’re gonna take a bunch of short films at home and put them on DVD and call it the Nightmare Collection. We’ll have a girl who will be our wrap-around girl and just show off a bunch of short films.” I watched tons of short films and judged or just really determine which were the best ones and in the meantime we are developing her (the hostess), I think the character was Necro-Nancy or something like that. She was a hot blonde with big tits, kinda goulish and whatever and she was gonna be our host. I know it was released, I never got a copy. It was good to have that kind of exposure for Creature Corner at the time and also got a credit under my name.

5. You've written for most of the major horror sites over the years. How did that come about?

When I was living in Michigan there was turmoil in my life, there were a lot of changes. I was still relatively young so, I got out of the relationship I was in and was determined to move back to Los Angeles and continue what I had set out to do. I found that I had to do it by myself. I was also working as an NBC local news producer, I was a six o'clock news producer up there, running Creature Corner on the side, and then around 2004 or 2005 we met this guy named Uncle Creepy. Uncle Creepy approached me and Johnny Butane and said; “Hey there's this great endeavor going on called The Horror Channel and they're gonna get their asses in gear and put a new channel on the networks and on TV and you guys should get in on this.” We weren’t getting paid for Creature Corner, we thought that there might be some payment around the corner with this new endeavor so we hopped ship. We started working for The Horror Channel on their website running that and then the guys behind The Horror Channel decided to well, I forgot the series of events but Dread Central was born of that, so it was me, Johnny butane, and Uncle Creepy, creating Dread Central. So we left the Horror Channel. Dread Central was okay, I moved back to Los Angeles and took a day job while balancing everything. Once I got back to LA I was back in the groove. “Get the horror team together!, Horror, horror, horror, all the time. We would get directors together and do movie nights. We had this thing called fright club where it was like aspiring horror directors, seasoned horror directors, up and comers like James wan, all these guys, Adam Green, and Joe Lynch and just go out. We made it a point, Friday nights; go see a horror movie opening-night. Support the genre, go have dinner and drinks, it was a great thing. It was a great endeavor. While we were doing that, Dread Central is coming along and I wasn't getting paid, so you know I really want to quit my day job and make this like a day job and Tony Timpone approached me, and he was like; “Hey, do you want to write for Fangoria?, because you're already doing a little bit of freelance for the magazine anyway. Why don't you come aboard and be exclusive to us?” And I said "Will it include more work and will it be older do stuff on the site to?" And he said “yeah” so, I hop ship from dread Central and I took the paying gig writing for the magazine and writing for the website, but I still kind of have to do the day job thing because it wasn’t paying all the bills. It was the greatest time man, 2006, 2006 was the year. That was the shit. I was writing for Fangoria and I was working all the time. Interviewing, you know, the greatest feeling was to see your story on the cover. I was like “that's my cover story this, this is great!” 2006 to 2007 was a great year and it was like a great time for horror in general, it was kind of a little bit of a resurgence. It was like Hostel, Hills Have Eyes, just boom, boom, boom, boom...a lot of good stuff came out.

6. How did shock to drop come into existence?

My time at Fangoria was short lived, it was like about a year and a half. And then ComingSoon.net put up an ad saying that they were looking for writers, they were looking for someone to spearhead a new or website and just be the managing editor, you know, provide content and run it and you'll be in on the ground floor. So I submitted my resume and they were like; “yeah dude you're in”. I was like great, “Can I quit my job?” “And they were like yeah, you've got a full-time position with us.” So I turned to my work the next day and was like “I quit, I'm out.” “They were like winter last day?” “Like, tomorrow. I got a start working on this site.” 2007 was the birth of Shock Till You Drop.

7. I read your opening letter for Shock Till You Drop. Where did Rotton come from and why did you switch back?

My thing called The Rotten Truth? Well the Rotten truth came about because I was still writing under the pen name Ryan Rotten. The whole reason Ryan Rotten came about is because when I started writing for Creature Corner it was better to have an alias out here in LA when you are trying to sneak into screenings and stuff because I get on the test screening list and say Ryan Turek and they would say okay. But what I wrote my review I wrote it under an alias. Granted it's not the most conspicuous alias ever because it's like Ryan Turek, Ryan rotten. So that's how the alias came about. And then I decided a couple years ago to just do it in and start using my real name. Which doesn't realize because I still get text messages from friends who are like hey Rotten what's up?

8. About the same time you started shock you also started acting. Is that something you'd like to do more of?

Dark House, well Darren Scott was a friend of mine and he was looking for someone to come out and be a day player and be a zombie. So was like “Can I get paid?” He was like “yeah”. Two days I was a zombie for him. I'm also in Night of the Demons. When they came back here for re-shoots, here in LA, Adam Gierasch is a friend of mine and I've spent a lot of time on set when we were down in New Orleans. He was like; “look the actor can't come back, you have this same body build and structure. Can you just go under makeup for a few hours and do some shots?” “I was like yeah”. So there are select scenes that I’m not to pick out, but I know that one specifically is me fighting Edward Furlong in a tunnel.

The Crystal Lake Massacre thing, that was just like bonus material. It’s like they did bonus content on the Paramount Special Edition Friday the 13th DVDs they put out. Not the boxed set but the single special editions and I'm just like an angry person because they're doing like this “man on the street interview” and I come out and say “why don't you leave Crystal Lake alone and stop talking about Jason!”

And then the “King in a box thing” that's on there is Adam Green's short film and this was back in the heyday when all or guys were hanging out and he did a short film and he was like “We need someone tall to play Jack from Jack-in-the-Box and you're gonna be wearing a bighead... “Have you seen it yet? It's fucking hilarious. It's like Jack and his hot wife at home and he has like a deed to Burger King and the King shows up and beats the shit out of Jack. I had to ware like a giant fucking Jack-in-the-Box head, and then my buddy has a place in Beverly Hills, I'm running around small hallways, bumping my head, it's so funny it was so much fun. Then I have to do the voice, like to emulate the Jack-in-the-Box voice. It was fun. It's on YouTube and on Adam Green’s site.

9. From a fan perspective what has been the worst experience you've had as a journalist?

I've never had any horror stories of like meeting anybody, sometimes there are embarrassing moments you know, like when you're not on you’re a-Game or somebody misconstrues something you might of said. And I don't know if this is so much embarrassing it was funny but when we were at Creature Corner we did an April fool’s joke that said that Ryan Philippe was going to be cast as leather face in the remake and Empire Magazine picked it up and then other mainstream outlets did, not realizing it was April fool’s joke so I had to call Ryan Philippe’s representation at the time and I was like “I apologize. I'm sorry it's just an April fool’s joke if you click on the photo it says April fools. Can I give a statement” and she was like “It’s okay. We're just gonna brush this under the carpet.”

10. When meeting new people, what is the biggest misconception that you have to deal with because of who you are and what you do for a living?

It comes into the blogger thing, you know. Things were a lot easier 10 or 12 years ago than they are now because everybody is so protected now, everyone’s very guarded. So when I do meet a new filmmaker or a new writer or anybody in the industry, walls are up and they don't want talk to me about anything new because they're afraid that you're gonna just run with it. So it's my job to give them a sense of security and go look, yes it's my job to report on things, but I won't do anything until there's a certain level of comfort between us and I always ask permission unless it's a random piece of information that I get through certain channels or whatever. For the most part I do keep quiet on a lot of stuff because I'm trying to protect relationships within the industry. So when I meet new people the common misconception is that you're a blogger and you're also just a fan boy and that's not the case.

11. Do you find it easier or harder interviewing horror stars that you grew up with because they've been so many questions so many times?

Oh absolutely. When I did my choice cuts with John Carpenter, it was like the toughest thing ever. It was like; “man, I've read every interviewing every book about him. I've read all this stuff so all I could do was bring it for personal angle and also focus on the now.” Get to the root of what's appealing to him now and getting him excited now and what pisses him off now. I think for most part we got something on it from him. So absolutely it's really tough. But you know what the thing is too, that's their job. They agreed to sit down and interview in the chair it's their job to sometimes rehash stuff or sometimes there are really excited about it.

12. In 2011 you wrote and directed the documentary Still Screaming. Can you tell me about the genesis in the filming of that project?

That came about because I met Anthony Masi, the co-producer of “His Name Was Jason”, when they were doing that. It was him, Dan Behrens and they brought me in to interview me and talk about the Friday the 13th franchise. I had already known them and after “His Name was Jason came out Anthony and Dan kinda went their separate ways to work on other projects. Anthony was trying to get something going and we were already talking about doing a documentary. We were gonna do Hellraiser. So we started work on the Hellraiser franchise documentary and Scream 4 had been coming out and I said; “There’s only three movies right now? Why don't we do a little retrospective? A feature-length retrospective.” Those were the movies when I was in college, those movies where the shit for me. I love those movies. That's how it all came about. We put Hellraiser on hold and just went out on our own and interviewing everybody, just trying to track everybody down, while talking to Miramax, talking to dimension, talking about Weinstein. We did our due diligence and made it happen and it turned out great I think.

13. You got your fingers in a lot of pies. Can horror fans look forward to you directing a feature film in the future?

No, I’m not a director. I won't direct but I'm trying to produce. I don't want to get stuck doing retrospectives and DVD special features and stuff. There are a couple of features right now that may take off early next year, some other stuff that I'm circling and want to do. If someone said take it and do it I might, probably would. But I haven't been behind the camera since film school, or, since the Scream documentary, because we did shoot that little fictional opening the lead you into the documentary. That was fun. No writing, I don’t want to write. I'm a good idea man. I've got good ideas but there are far better writers out here that are far more talented than I am and certain directors too. So I would rather use the connections I have, doing what I do, to find the right guys and just put them all together.

Well there you have it. A peek inside one of the hardest working men in horror. If you are an aspiring writter and want to make your mark then this is how. Never give up and never settle. If you don't already (I'm sure you do), check out his excellent site:

http://www.shocktillyoudrop.com/

And you can also follow him on twitter:

@STYDNews

OK. I'm gonna go grab a coffee. Later.

Other Horrific Musings:

13 Question Marks of Horror with Hail Satan's Denesa Chan

13 Question Marks of Horror: Bloody-Disgusting's Brad Miska

13 Question Marks of Horror with the ABC's of Death's Kyra Zagorsky

noreply@blogger.com (Sinful) — Wed, 12 Dec 2012 18:37:00 +0000

Photo by Alex Chiang Art by Sinful Celluloid

Kyra is a statuesque beauty who you can't help but remember. You've seen her on genre shows like Fringe and Supernatural, as well as Stargate. Though she has graced our TV screens before, this year marks her first venture into horror. Kyra will be double dipping in blood with the highly anticipated "ABC's of Death" and the new zombie film "Toxin". Luckily she had some time in between to talk about The 13 Question Marks of Horror...

Photo by Alex Chiang

1. You've been acting pretty steady for almost 10 years. How did you fall in love with it?

I was in love with movies when I was young. Some of them really left a mark in those formative years. I didn’t know that acting was something I could realistically pursue coming from small town Colorado. So I put my attention into writing. It wasn’t until I was in college and started training in acting and seeing a lot of good, live theatre that I really fell in love with it. The first play I did where I discovered my potential as an actor was Agnes of God. I think I was 19. That might be the one that hooked me. I’m a sucker for a good story.

2. Your first acting experience was a high school musical. Do you ever want to return to that genre on film?

I don’t know that the musical thing is for me. Some of the people I went to school with are on Broadway, so I know what caliber of singer you have to be. I can sing a bit but I think my real skill as a performer is better suited for drama. On the other hand, I don’t know that I’ve ever been as excited to see a movie as Les Miserable coming out next month! The trailer gives me butterflies every time I see it!

3. You've done lots of theater as well. What is the major difference for you between film and stage?

The major difference for me is the emotional and physical process of finding the character. In theatre there is the freedom of living the whole story from beginning to end. Then you get up the next day and do it again hoping you find something deeper. In film you live each moment or scene at a time and it’s shot out of order. There is a sense of connecting then disconnecting. Each time you go back to the top of that moment to shoot it again, that’s your chance in film to find something deeper. Once that’s done you move on and leave it behind.

4. You have appeared in some of the hottest sci-fi and horror shows on television. Are you a fan of that genre?

I am a fan of sci-fi. Aliens is still one of my all time favorites. I used to be into horror when I was in that high school age. It was so fun to be freaked out! Now, good horror movies actually scare me. Terrify me, actually.

5. Stargate had a pretty serious sci-fi fan base and now moving into horror; do you find the fandom is similar?

Yes! I still get mail from my Stargate fans and it blows me away because it feels like it was so long ago. When I went to the Toronto International Film Festival for ABC’s of Death, the audience was lined up around 4 city blocks to get in. Some of them were dressed in costumes and they were screaming and cheering before the premiere. I’ve never been a part of something like that.

6. Let's talk about the ABCs of Death. What can you tell me about the project?

26 different directors representing 15 or so different countries. It’s a fascinating compilation of films because the style of filmmaking, taste and idea of horror was so broad. The segment I starred in was set in the future.

7. Was it hard to create a character with such a small amount of time to do it in?

Kaare, the director, did something really amazing on my very first set up. I sat down for this scene. They were going to get my coverage first. So all cameras and lights… everything is on me. Then I heard, “rolling” and he said to me okay Kyra he’s got a list of questions he’s going to ask you. You just improv the answers and then he’ll start the scene and just go on from there. “Action”. It was great because I instantly became completely open and present and had to respond to these really personal things he was asking me as the character. I really feel like he collaborated with me to figure out who she was going to be in those first moments on set and so I just trusted that and made a choice. It was a great way to jump into her shoes with the short amount of time we had to shoot.

8. Were you familiar with any of the director's work prior to ABCs of death?

I knew that he (Kaare) was a crazy talented Marvel Comics artist.

9. You also have a zombie film on the horizon. Can you tell me a little about Toxin 3-D?

Toxin 3D is a little different than a typical Zombie movie because they’re actually living and not dead. If that makes any sense… It’s a fun, action packed adventure with a lot of fun characters. I had a blast shooting it. The cast had me laughing every day.

10. Did you draw from any personal experience to create the character of Carla?

I did. Her father has a position in the military and my Dad was a Viet NamVet and an ex Marine. When I read the script, I just understood her way with people and it was easy for me to connect to the humanity of her character because of that connection.

11. Was it difficult for you shooting in 3-D for the first time or was it pretty much the same process?

It was only different because it was a different process for the camera crew. I have a fight in the movie and sometimes you’ve got to give that punch right into lens for the 3D effect to work out in post.

12. You’ve produced two titles now and written one. Do you see yourself leaning towards working more behind the camera?

Yes! Absolutely. I have another project that I am writing. I’ve directed plays both in a University setting and professionally so I would love to give Directing film a shot. I don’t think I could be satisfied artistically if I was only acting. I have way too many stories going on in my head that I feel a need to express them in ways other than in front of the camera.

13. With the ABCs of Death and Toxin in the near future, can horror fans expect to see more of you?

Maybe. I’ve got to say, I’ve played the hero and the villain in this genre and it really is fun. For the hero, the stakes are really high so there is a freedom in expression there. As the villain (like the one I played in Divine the series) there is a freedom in creativity with how dark you can go or what you can do with the character. You don’t always get chances to explore those things elsewhere.

ABC's Of Death will be in theaters January 31st, 2013 and look for Toxin in 2013 as well. Keep an eye out for them and the ravishing Kyra Zagorsky. You will be glad you did.

Other Horrific Musings:

New Red Band Trailer for the ABC's of Death ...

TIFF Spotlight: The ABC's of Death

13 Question Marks of Horror with American Mary's Antonio Cupo

13 Question Marks of Horror with Butterfly's Edward Romero

noreply@blogger.com (Sinful) — Wed, 12 Dec 2012 18:34:00 +0000

There are a lot of great directors coming out of the scene right now, guys with vision and knowledge. At this year's Shriekfest I met one such Director, his name is Edward Romero. Edward was promoting his collaboration with Eric Hollarbach; Damien Shadows: P.I. We sat down and amidst the drinking discussed The 13 Question Marks of Horror!

1. You are a horror fan through and through. What film or experience first got you in the horror?

My love of monster movies started when I was a kid. I grew up in Michigan, near Detroit, and one of my favorite TV shows was a local horror host called Sir Graves Ghastly. He was this vampire character that would play back-to-back horror flicks on Saturday afternoon with little funny skits in between them. I just loved it. He was like my Captain Kangaroo, I guess.

2. You've broke into film in 2004, what did you do before?

Yeah, I moved to Los Angeles in 2003 to attend UCLA’s Professional Screenwriting Program. Before that I was an ex-pat living in Germany for six years. I worked as a government contractor during the day and played guitar and sang in pubs on the weekends. Good times.

3. Your first short was headshot. Okay tell me about the genesis of that project?

I wrote Headshot while sitting in a coffee shop in Hollywood eavesdropping on patrons. It’s about an out-of-work actor who tries to holdup a coffee shop only to find himself unwittingly auditioning for a part as a criminal. My sister Margo has been a producer/director here in LA for some years. She’s the main reason I got into the industry. Margo read Headshot and offered to direct. It was our first collaboration as a brother/sister filmmaking team.

4. Well from that short you moved into writing features. Was it difficult to make the transition?

The transition from shorts to features was pretty natural. After Headshot, Margo and I wanted to do something bigger. The two of us conceived a story that we could shoot on a micro-budget. Then I wrote and she directed what became our first feature film, a teen-slasher, called Sibling Rivalry. We shot in Canada with local kids, bringing in a couple of actor friends from LA who are no strangers to horror flicks, Eileen Dietz (The Exorcist) and Courtney Gains (Children of the Corn).

5. This brings us to Butterfly, which is a wicked little piece of work. How did that film come about?

Butterfly was born out of frustration. I had co-written a couple of projects with director Elias Matar that we had optioned and were waiting on funding to come through. In the meantime, I wanted to write something that I could direct myself with a few friends and available gear. And that’s what we did. I wrote the script in four weeks. The whole thing was shot in ten days, over five weekends, in sequential order. We begged, borrowed and stole (locations anyway) to get Butterfly finished. It was an absolute blast.

6. Mandi Kreisher is terrifyingly honest as Laney. Did you see a lot of actresses for the role or what she always "the one"?

The only casting call we did for Butterfly was for the part of Laney. I had worked with Jay Laisne´ on a short film that my sister had directed. I wrote the other parts for actors that I knew personally. We brought in about thirty actors to read for Laney based on headshots. Funny enough, when I sent out the casting notice, I was looking for a gothic, punk rock chick— sort of a grown up version of Matilda from The Professional. But when I saw Mandi’s headshot something just clicked. Really. She was the total opposite of what I thought I was looking for but it made me stop and rethink the character. So we brought her in to read and she absolutely nailed the audition. We had the added benefit of the fact that she was reading with Jay and the two of them were just brilliant together. When they finished the reading, I turned to my sister (who was also my producer) and I literally said, “Do we have to see anyone else?” So yeah, Mandi was magic.

7. Being the first film you directed, how much of you is in the characters?

Admittedly, there’s quite a bit of me in the two lead characters, at least philosophically speaking. Throughout the film they wrestle with certain themes that I was interested in exploring: censorship, revenge, redemption and ultimately the question of image vs. action. That said, I based all of the characters on bits and pieces of people I actually know. Laney, for instance, is an amalgamation of two different women that I have great love and respect for but also terrify me a little bit.

8. After spending some time on the set, was the experience as a first-time director overwhelming or underwhelming in terms of the difficulty?

Mostly, I had no idea what I was doing as a director. So that helped make the experience pretty easy for me. Probably not so much for the rest of the crew. But seriously, I had a great time directing Butterfly. It was a labor of love. We were all friends going into it and we’re still friends now. I’d say that speaks volumes for the process. If anything, I think I could have pushed myself harder. There were mistakes made along the way that I take full ownership of. But in the end, we did what we set out to do.

9. You follow that up with Damien shadows P.I., which is a horror comedy of sorts. How did she go from the intensity of butterfly to the openly silly Damien shadows?

Between Damien Shadows and Butterfly, I co-wrote the film Ashes with Elias Matar, which ended up winning Shriekfest and a bunch of other festivals. That kept us pretty busy in the horror community for a while. But both Butterfly and Ashes are pretty dark movies. Damien Shadows was a chance for me to lighten things up a little bit.

10. Damien shadows is the brainchild of Eric Hollarbach. How did you get involved in that?

Eric is a really funny guy. He and I met a few years ago while working on a reality TV show. Both of us have an odd love of conspiracy theories, mixed martial arts and movies. So we hit it off right away. To be honest, when Eric approached me with the idea of directing him in Damien Shadows, I wasn’t sure if was the right man for the job, not being a comedy director, but he had faith in me and I had faith in his comedic timing so we just dove in and got it done.

11. You acted in Damien shadows as well as some projects in the past. Is that something you would like to do more of?

Let’s face it; I’m a terrible actor. It should be left to professionals. I’m way more comfortable on the other side of the camera, or better yet sitting at my desk typing away. I started “acting” out of bare necessity. That is, every project I’ve acted in I was first on set in some other capacity and sort of ending up acting. I guess that makes me an actor by default. I can’t say it’s something I’m pursuing but it’s probably something I’ll end up doing again.

12. Do you plan and doing more Damien shadows episodes with Eric?

We just finished shooting three webisodes of Damien Shadows that will be up on the official website in the near future. Eric’s idea is to make it into a full series. I’ve directed a couple of them and Eric has taken on some of the directing duties himself. Stay tuned.

13. What can horror fans look forward to from you next?

Next in the pipeline is one of two feature projects that I co-wrote with Ashes director Elias Matar.

Lords of Chaos is a tale of urban horror, set in Detroit. When locals start disappearing on their turf, The Latin Lords, a vicious street gang, comes face to face with an ancient Lovecraftian monster living beneath the city. The Devil’s Door is a hero origin story set in present day Los Angeles. When his oppressive father is murdered in a drive-by, a troubled young graffiti artist becomes a masked vigilante to avenge his father’s death.

Yep, not one but two Latino gang flicks. We plan to be in production with one of them the first of the year. It all depends on how things shake out. You know how this business can be.

Edward definitely has an eye for interesting projects and it helps that he can jump back and forth between serious and comedic horror. Keep an eye on him.

Other Horrific Musings:

13 Question Marks of Horror with Hail Satan's Denesa Chan

13 Question Marks of Horror with Resolution's Justin Benson and Aaron Moorhead

Exclusive: 13 Question Marks of Horror with Sledge Creator Kristian Hanson

13 Question Marks of Horror with Hail Satan's Denesa Chan

noreply@blogger.com (Sinful) — Mon, 12 Nov 2012 23:22:00 +0000

One thing horror is good for is cultivating new talents. One of them is Denesa Chan. If you've been on the horror convention circuit then you've probable seen her. Denesa is a one woman show. Producer, actor, and professional dancer, she's a triple threat to be reckoned with. Her new film, Hail Satan, is making the festival rounds right now and can be seen this weekend at San Diego's Horrible Imaginings. If you live in Southern California, you know have homework. Denesa found time in her busy schedule to chat about something I call...The 13 Question Marks of Horror Dun Dun Duuun!!!!

You’re a prominent fixture at horror festivals. What movie or experience first got you into horror?

I absolutely love horror festivals. They're filled with two things I love: great creative people with artistic guts and kick-ass films with that same misfit-tendency. As for what got me into horror: I've always had an extremely vivid imagination. When I was a tiny little girl my older neighbor used to come over and force me to listen to her read the Book of Revelation from the Bible. There is some extremely twisted, sadistic imagery in that there book. The moon dripping with blood, fire blazing from the sky, the horned beast himself... It freaked me out so bad I literally saw the red glowing eyes of Satan in my pantry.

2. You started off as an actor. How did you get into producing?

I have an innate need to be an actor. It's like a tiger's drive to hunt. I've always known that I would be an actor, since before I could talk. It's what I'll be doing until the day I die. It's who I am... Being a producer, on the other hand, went something like this: I always care about the projects I'm in, and I have a natural curiosity and hunger for filmmaking and learning. I'm not afraid to work hard to make projects the best they can be... Plus I always ask “Need any help?”… You do that long enough and you go from “just” an actor to an actor-producer real quick. I'm also pleased to mention that this year, I started my production company, Fierce Pixie Films (www.FiercePixieFilms.com). Look out for future kick-ass badass films from us.

3. You're also a talented dancer is there one you prefer above the other?

Dancing, like pretty much everything else in my life stemmed from my acting. I started serious conservatory acting training at the LA County High School for the Arts and studied theater at NYU's Lee Strasberg Institute then toured around the world performing. Somewhere along the way, I felt extremely confined by traditional narrative structure, and I rebelled against it hardcore, finding solace in the boundary-pushing world of the absurd and the avant garde. It wasn't long before I was seduced by experimental physical theater (I performed Suzuki, a Japanese experimental physical theater form based on Noh and Kabuki, for a while.) From physical theater it was short leap (bad pun) to dance theater then to modern and even aerial dance. (Aerial dance is what they do in Cirque du Soleil with the high-flying silks, bungees and harnesses, for those who are wondering.) That whole time, I was still passionately in love with film, especially indies, and eventually I came to crave a good story. Now I'm back in the world of narrative storytelling with a whole new thirst and appreciation.

4. You produced a pretty intense short called “Kiss before The Slaughter”. What was it like putting on the producer’s hat on the first day?

I came aboard the project intending to be an actor and nothing more. (I play Luz, a campesino girl from Mexico who is abducted by an underground organ-harvesting operation and brutally murdered.) There was plenty on the production side that needed to get done, and I kept volunteering to do it... (Silly me!) … It wasn't long before I was instrumental in helping to assess, plan and implement the whole film. So, basically I was wearing a producer's hat long before I had the official title. I even ended up being second-unit director and stunt coordinator, which was a blast! There's nothing like hanging out of a van careening through the middle of the desert with a guy jumping from the roof to the hood of the car, while jousting a poor schmuck who is running away on foot! And shooting it on 2-perf 35mm no less! (aka CinemaScope: the ultra-gorgeous, ultra-wide format that you'd recognize from THE GOOD, THE BAD AND THE UGLY.) Oh, and I also got to throw molotov cocktails on the director and set him on fire!! Good times.

5. Was that performance more emotionally draining or physically draining?

Oddly enough that performance was totally exhilarating! When I'm shooting an intense scene, I get very focused... I forget to eat or drink. I don't feel extreme cold or heat. It's visceral, but thrilling at the same time. And once it's over, there's the total rush that comes with a job well done. People often ask me how I prepare for an emotionally intense scene. (Spoiler Alert: In Kiss Before the Slaughter, I emerge from a morgue slab having been abducted and operated on. My stitches burst open, spewing my intestines. I crawl towards the door, leaving a trail of red behind me, only to be discovered by a man with a gun. My screams for my life fall on deaf ears as I'm shot in the forehead at point blank range. Splat.) In order to be true to the situation (in the story) I had to be completely in the moment (like all good acting), so instead of planning out how to play it (which would be too canned and rigid), I did my prep work on my imaginary life before that moment and my imaginary thirst for my imaginary future, so I am free to have an improvisational state of mind within scripted material when action is called. … When we arrived on set, we only had one take to get everything perfect. As a team we worked out our timing, my physicality, pathway, eye-movements... every little detail... It was like a dance. In fact, I thank my dance and theater training because my body did exactly what we rehearsed even though the only thing my mind was conscious of was waking up in a morgue in terrible pain with my guts spilling out and trying like hell to escape.

6. What was it like to see yourself die on camera?

Hahaha.. It freaked out my friends and family. That's for sure. They said, “Denesa, we love you and all, but don't make us watch you die! Seriously!” … When I saw the footage I was wearing the producer hat, so I was just happy that we got the timing right and that it looked great. We all breathed a huge sigh of relief and high-fived in the telecine studio (while wearing our sleep-deprived grins of insanity).

7. Hail Satan is a horror comedy. Can you tell me about the genesis of the project?

“Hail Satan!” is a highly stylized, super saturated, horror comic book on steroids. It started with me saying, “Hmmm.. My friends and I need a way to get into the union... And I don't feel like waiting around or depending on someone else to make it happen.” So, I called John Farrell, who is one of the funniest people I know and also an avid horror fan and said, “Let's make a short!... I want to do something really fun, and I have swords, skulls, candles and lots of hot goth clothing.” In no time at all the suburban goth kids theme was born, and John handed me the first draft. Then I assembled the team (including Buffy the Vampire Slayer composer Shawn K. Clement), and knew it needed an over the top Giallo-esque visual aesthetic to push it to utter ridiculousness. That and some guy-liner.

8. Hail Satan has already won the Independent Spirit Award. What about this short do you feel connects with people?

It's such a crazy, quirky film. I'm always amazed how people connect to it, but people have said that even though the situation is absurd, they can identify with the characters. They're all trying hard to be hardcore, to be a part of the party. I think we've all felt that at some point. It's the feeling that everyone around you is cooler than you, but it's fun to catch people with their proverbial pants down and their inner dork dangling in the wind.

9. In the film you play Samantha, a sexy and playful vixen. What’s her story?

Wow, great question. No one ever asks that! Samantha is the fierce bipolar anime super vixen of the group. ('Cuz, you know, every group has to have one, right?) She's a super pink girly girl by day, and a super dark goth by night. The character in many ways grew out of my frustration at having to be two different people in this LA town: the sweet, clean-cut Hollywood actress on ABC Family by day, and the rocker anime punk by night. When I would meet people on set (sporting a pony tail and sparkly gymnastics leotard), they would say, “Sorry, honey. You could never believably pull off a goth look. You're just not bad or sexy enough to be cast as a vixen.” And when I'd meet friends at a night club (donning corsets and chains), they were like, “Baha... You? Sweet and innocent? No one's going to cast you as the girl next door. You could eat her for breakfast!” I guess I'm just headstrong enough to say, “Okay, if no one's going to cast me as both, I'll do it myself.”

10. Though the characters are very funny, there is a ring of truth in them. Ever know anybody like them?

Thank you!... I went to an arts high school (the west coast equivalent of FAME). It was amazing because we were a collection of all the outcasts and misfits who didn't want to conform to a normal high school existence. We were the kids who would normally be picked on and beat up, but in our school, we made the (totally arbitrary and non-sensical) rules, much like the characters in Hail Satan.

11. Would you like to revisit that character in a feature?

People have said they'd like to see a feature version of Hail Satan, which is very flattering. I'd totally be down. It was a fun part to bring to life and a great group of people to work with. So, yeah, I'd gladly ride the waves of a feisty anime goth vixen/ ultra pink girl next door again... Hell, I already have the wardrobe.

12. After acting and producing, do you plan on trying your hand at directing?

I get that question about directing all the time.. I wonder if people are trying to tell me something?... I absolutely love all aspects of filmmaking, and I am amazed by the talent that each person brings to the team. When I produce, I'm a part of the creative core, generating ideas and following through without regard to job titles. I'd be open to co-directing with someone I share a strong vision with. But regardless, I will always, first and foremost, be an actor. My first passion is getting down and dirty and living the life that the writer dreams up. They imagine the world, and I get to live in it, to find out what it tastes like... How it feels to inhabit that skin, to see through those eyes, to breathe that air. I have the best job on the planet. I get to live hundreds, thousands of lives instead of just one.

13. What can the horror community look forward to next from Denesa Chan?

Certainly not sleep! Hahaha... There are a couple projects that I can't talk about yet, including a comic book in which I'll play/embody twin sisters!... But I can talk about my very next project: I'm in pre-production on a character-driven psychological thriller feature (along the lines of ROSEMARY'S BABY) called VIRGIN FOREST about a young woman with a dark history of being in and out of mental hospitals her whole life, menaced by what is either a haunting supernatural force or schizophrenic delusions. Either way she finds herself in a small, isolated forest community when the shit hits the fan. Dean Bertram, director of A Night of Horror and Fantastic Planet – Australia's top genre festivals, is writing/directing and co-producing. After seeing my work in “Hail Satan!” he cast me in the starring role and asked me to co-produce as well. So, once again I'll be straddling both sides of the camera.

D: Thank you so much for taking the time to watch Hail Satan and write about it! You rock!

SC: You rock harder!

For more on Denesa and her films including Hail Satan! Check out the links below:

www.DenesaChan.com

www.facebook.com/DenesaChan

www.FiercePixieFilms.com

www.facebook.com/FiercePixieFilms

www.HailSatanMovie.com

www.facebook.com/HailSatanMovie

Other Horrific Musings:

Satan's Blood (1978) AKA Escalofrío

The baddest bloody butler in town: Blue Blood (1973)

Call it Rosemary’s other baby: Black Candles aka The Sexual Rites of the Devil (1982)

13 Question Marks of Horror with Inbred's Alex Chandon

13 Question Marks of Horror with The Sideshow Sirens

13 Question Marks of Horror with The Other Side & Human Centipede 2 's Makeup Artist Nicole Nicolaou

13 Question Marks of Horror with Silent Night Bloody Night: Homecoming's Andrew Jones

noreply@blogger.com (Sinful) — Mon, 12 Nov 2012 18:49:00 +0000

There are a few film makers that are out there doing it right. Making good horror with small budgets and relying on story and scares rather than big budgets and millions of dollars in CGI effects. One of these guys is the UK's Andrew Jones who has two key films coming our way and a host of awesome projects in the fire. We caught up the other day and he was happy to answer my 13 Question Marks of Horror...

1. You’ve seem to come out of nowhere with some very exciting projects, can you tell me a little about yourself and North Bank Entertainment?

I worked on my first fully financed feature film in 2007 as writer and director. It was a good creative experience but ultimately the film didn't get released because of disputes between the numerous producers on the project. So I realised that in order to be in control of the direction of my work I needed to go into producing with my own production company. I gained a bit of experience associate producing and screenwriting on other people's projects before forming North Bank Entertainment in 2010 and making our first film in 2011. Horror has always been my favourite genre and it's never been more mainstream than it is right now so there's a big demand for it. So at the moment North Bank's remit is to produce 2-4 low budget horror films per year for the Home Entertainment markets in the UK and North America.

2.What film or experience first got you into horror?

In my hometown of Swansea in Wales I used to go to a local Video shop with my parents when I was a kid. I was drawn to the evocative VHS covers in the horror section so I would try to convince my parents to let me watch the films. They finally relented and

rented out 'A Nighmare on Elm Street' and 'Friday the 13th' for me. I watched both movies back to back and I felt what musicians must feel when they first hear The Beatles. The films didn't give me nightmares, they gave me dreams. My imagination was fired and although the idea of being a filmmaker seemed like an impossible dream, the seeds were planted and I knew that one day I would make a horror movie.

3.You started off as a one-man show with teenage wasteland in 2006. Was film always your first love?

Definitely. Even when I was five years old I would sit through the entire end credits of movies to see who did each job. I loved learning about the mechanics of cinema as well as enjoying the viewing experience. As a child, I would much prefer to stay at home and watch movies than go out. My parents saw that I could handle horror movies so they allowed me to watch them and my childhood was a wonderful journey of cinematic discovery because of that. I'll never forget the feeling of seeing the classic horror movies for the first time. The old Universal horror films, 1970s Grindhouse flicks, zombie films, creature features, the slasher movies and Video Nasties of the 1980s. Watching those movies as a kid was the best lesson I could have had as a filmmaker because I experienced first hand how movies can sometimes be significant enough to change peoples' lives.

4.Can he tell me about that first shoot?

I look back on my first film 'Teenage Wasteland' and I cringe about the technical naivety of it. Visually it looks like a very amateurish movie but the experience of filming it was a great education. I learnt how to direct actors on that movie. I also learnt from the many technical mistakes and that's what you need to do with every film, particularly your early work. If you learn from your mistakes then you can become a better filmmaker. I've progressed a lot since that first shoot but I still have so much to learn. I think if someone is the same filmmaker, and person, in five years time as they are today then they haven't pushed themselves hard enough to evolve.

5.The main challenge for any young filmmaker is finding financing. How do you go about securing your films financing?

I tried to get some bigger budget projects off the ground when I first went into producing. Budgets in the range of £1-3million. That's chicken feed for US studios but in terms of the independent scene in the UK that's a lot of money, particularly when you're trying to raise it without the support of high profile production companies or producers. What I learnt from the process is that no private investor or funding body is going to throw millions at a producer with no track record. You have to prove you can make money for investors before you can secure those kind of budgets.

So I decided to streamline my budgets to the absolute essentials and pitch a low risk investment in films that can compete in the mainstream market but at a quarter of the cost of our competitors. On previous projects I've worked on I noticed how inflated and wasteful the budgets often were. So my goal is to make creatively satisfying and marketable pictures but at a budget level that gives the best possible chance of a healthy profit margin for our investors. If you show financiers that you understand business and they see you aren't just a flake who doesn't give a shit about the investors once you have their money, then you become someone they want to do business with.

If your low budget project secures a top distribution deal and makes money then opportunities to do bigger and better movies can become a reality. Look at the big name directors who started out on Roger Corman's low budget exploitation movies before hitting the big time- Francis Ford Coppola, Martin Scorsese etc. New filmmakers should always be prepared to work with whatever they can get and make sacrifices in the short term in order to prosper in the long term. Never wait for someone to hand you multi million budgets because you'll be waiting a long time. Take whatever amount of money you can get and just make movies. Making is always better than Waiting.

6.You secure some native projects including night of the living dead, silent night bloody night, Amityville, and Manson. What steps you take to secure such name projects?

One of the current trends in the industry is for remakes and brand name titles. Money is tight in this economic climate, so distributors are more drawn to films with a marketable brand because they have an in built consumer recognition and therefore represent less risk as an investment. So I knew North Bank's first projects needed to have some form of brand name to give us the best possible chance of getting distribution. Robert Shaye who founded New Line Cinema started out as a copyright lawyer and he discovered that the copyright on Reefer Madness was in the public domain so decided to release the film. That's how he began distributing films with New Line which of course went on to become a prosperous Hollywood studio. Most new independent distributors often start out by distributing public domain films because it doesn't cost anything to secure the rights. So I applied the same principle to my production company after discovering 'Night of the Living Dead' was in the public domain. I knew it had a public recognition and wouldn't cost us anything to secure the rights to the name. A lot of fans of the original movie may see that as taking advantage of Romero and Co. But everyone involved with that original film is a successful millionaire so we're not leaving anyone in poverty. The bottom line is if someone who dreams of being a filmmaker is faced with the choice of being able to produce a remake that gets your career started, or struggle on for years unsuccessfully trying to get something "original" off the ground then that isn't even a choice at all. Anyone with common sense would take the remake in a heartbeat.

7.Acting as writer producer director on projects gives you an immense amount of freedom. Would you say this is the best way to work?

As long as you don't have an over inflated ego it most definitely is. I love being an independent filmmaker. A big benefit of keeping budgets low is that you retain full creative control. That's nice when I'm directing but it's most satisfying when I work with another director and I can give them the freedom to implement their vision without interference. If you bring in a director who understands the material then he should be allowed to do the job without facing the added pressure of a producer on his back questioning his creative decisions. That has worked well in my partnership with James Plumb who directed 'Night of the Living Dead: Resurrection' and 'Silent Night, Bloody Night: The Homecoming'. Although I'm involved creatively with the script, once that first draft is done and we are both in agreement on what the film should be I leave him alone to make the film his own. Then I stick to my job which is the organisational and business side of the project. I think that's the best way to work as a producer.

The best part of producing for me is selling the film to distributors. Because we're so low budget I'm sure some of the actors and crew who work on our projects think the films will just get a screening and then disappear like so many other low budget indie flicks. So I get a lot of satisfaction telling them that the film they were a part of has been picked up for UK and North American distribution, as both 'Night of the Living Dead: Resurrection' and 'Silent Night Bloody Night: The Homecoming' have been. It makes everyone's hard work worth it. Even more so if the films do well and help those who worked with us to progress in their careers.

8.Can you tell me about silent night bloody night homecoming?

It's a UK based remake of an American cult classic from 1974 which focuses on a manor house that has a dark history involving the family of it's owner Wilfred Butler. The original pioneered a lot of the techniques that would later become staples of the slasher genre such as the Stalker Point of View shot and it has a very dark, unique back story. I've always wanted to create the first UK based slasher franchise so the ultimate plan is for 'Silent Night, Bloody Night' to become a series of films for the Home Entertainment market. So for this first film we wanted to reboot the original 'Silent Night, Bloody Night' origin story and expand it so it has the potential for continuation. It's a low budget movie that we shot in just 10 days and we only had three months for post production so that presented big challenges for us. But I'm very proud of what we managed to achieve despite the limitations, it's superbly directed and the practical FX by Alex Harper are very impressive. I'm sure slasher film fans will enjoy the brutality and creativity of each kill. The film has been picked up for distribution in the UK by 101 Films and we'll be announcing the North American distribution deal we've recently agreed for the film soon. We already have original stories in mind for the next two instalments so if the sales figures are good when it's released on DVD in the UK and North America then we'll begin production on a sequel. It's up to the audience now whether they want to see a continuation or not.

9. How did Adrienne King, the original heroine of Friday the 13th, come on to the project?

I found out Adrienne was exhibiting her artwork at the Misty Moon Gallery in London at the same time as we were shooting the film. She's very accessible to her fans so I got in touch directly and asked her if she would like to provide the voice for a series of phone calls the killer makes to potential victims in the movie. She read the script and agreed to do it. Adrienne has done a lot of voice work before and getting the heroine of an iconic slasher film involved in our project, which is a love letter to that slasher era, was a great thrill. James Plumb and I are both huge fans of Adrienne and working with her was a fantastic experience. Adrienne has a wonderful professionalism and warmth and the support she gives to new independent filmmakers is amazing. Her position as an icon of the horror genre is thoroughly deserved.

10.One thing that has my attention is that of the living dead resurrection. What made you want to tackle such an iconic property?

As I mentioned earlier the idea of a brand name title that I could acquire for free influenced the decision to make that the first project for North Bank. The 'Night of the Living Dead' name gave us the best possible chance of securing distribution and finding an audience. But once we had that marketing hook we were free to take the original concept of Zombie-apocalyse-survivors-trapped-in-a-farmhouse in a new direction. The film has new characters and new plot twists that are completely different to the original film. With 'Silent Night, Bloody Night' we stayed close to the original, but with 'Night of the Living Dead: Resurrection' we've gone in a completely different direction than the Romero movie. I think James Plumb did a fantastic job directing it, particularly as the process of shooting was very challenging. We were in a cottage in the middle of nowhere with a tight budget and a 12 day shooting schedule. So it's always difficult to get a film completed under tight restrictions but it turned out very well. It amused me that one or two of those involved in the film slagged us off because of the difficult conditions but then the film got picked up for North American distribution by Grindstone Entertainment Group and Lionsgate Home Entertainment and for a UK theatrical release by 4Digital Media. Needless to say, they're now kissing our arses. It's a fickle old business.

11.Being creative is one thing, the biggest problem young film makers have is how to get their film out there and people interested in it. What would you recommend?

I think it's very important to understand the current trends of the market place and the audience demographic you are aiming at. That's something filmmakers should consider before they even make the film. So many first time filmmakers struggle to get distribution because they don't consider what kind of movie would appeal to distributors and audiences. I made that mistake myself with my first two films, they were arthouse dramas and there's a limited commercial appeal to those films. I'm lucky in that the genre I love the most always seems to have a place in the market if you get the timing right.

As well as the title, another reason why we managed to get 'Night of the Living Dead: Resurrection' picked up for distribution is because zombies are very popular at the moment, particularly because of the success of 'The Walking Dead'. So distributors are obviously on the look out for zombie films. The popular films always come in cycles and the cycles are based on what is the most successful recent film in that genre because everyone wants to emulate that success. So distributors will be looking for similar films. I'd advise any first time filmmakers to look for those trends and try to capitalise on them. There's nothing wrong with making a film which follows what is popular at that time. After all, a filmmaker wants their work to be seen by as many people as possible. When you've had a successful film then you can start to worry about being an original artist who sets the trends yourself.

When it comes to actually selling your film the accepted route for indie filmmakers is to travel to festivals and hob nob with distributors at Film Markets around the world. That's fine if you can afford it but if your budget doesn't stretch to that then you can approach distributors via phone or email. If the approach is concise and professional and they agree with your demonstration of the sales potential of the movie then you should be able to convince them to consider a DVD screener. I rarely go to film markets or festivals. Not because I can't afford it but because I don't see the point in flying half way around the world to secure distribution when I can do it from the comfort of my living room!

12.You have a Manson film in preproduction. As a UK filmmaker, what do you hope to bring to America's most infamous mass murderer?

The project has had quite an extensive development process. I initially wanted to do a bit of an epic over five decades of Manson's life with a keen focus on his childhood. But the script was too big in scale and needed re-writing to be more practical. Then the opportunity to do 'Night of the Living Dead: Resurrection' and 'Silent Night, Bloody Night: The Homecoming' arose so the project was put on the back burner. I've now brought in another writer to work on the script. I think the Tate/LaBianca story has been depicted more than enough times on TV and film, so we're going to portray areas of Manson's life that no other project has covered, such as his childhood and his incarceration after the infamous murders. I think that approach will create a fresher and more complete portrait of Manson, rather than the one dimensional way he is currently portrayed in movies and on TV. Being in the UK I think I am well placed to avoid the bias of the US media's portrayal and present him in a way that allows an audience to decide for themselves what they think of him. Once we get the script into the right shape we'll move forward on production.

13.You have a lot of films in the oven for small production company. How do you keep your budget slow and your marketability high?

It's all about trying to achieve a marriage of marketability and low budget on every project. There's no point trying to make an action or fantasy film because we can't compete with the spectacular scale and set pieces of movies that have far bigger budgets. But Horror definitely lends itself to the grittiness that often comes with a low budget so we'll continue to work in that genre. We have a 4 picture deal with our backers Independent Moving Pictures so while we're moving away from remakes next year we will continue to make films that follow popular trends. Two of the films on our slate for 2013 are in the supernatural and found footage sub genres and we're also set to move into sci-fi and creature features. At the end of the day, the people who buy our films and become our fan base will be the ones who decide what kind of films North Bank Entertainment make in the future. The audience always knows best.

This is how ya do it.

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13 Question Marks of Horror with Resolution's Justin Benson and Aaron Moorhead

noreply@blogger.com (Sinful) — Mon, 12 Nov 2012 18:47:00 +0000

One of the most buzzed about movies on the festival circuit is Resolution by Justin Benson and Aaron Moorhead. Resolution is the story of a guy who stages an intervention for a friend which leads to confrontation, long buried demons and much much worse.

I met the film making team of Justin Benson and Aaron Moorhead at Screamfest and got them to reveal how they felt about the 13 Question Marks of Horror

1. What experience or movie got you into horror?

A: I don’t like certain genres of movies – I just like good movies. Justin and I always are drawn to the “cinema fantastique” thing, but I think it’s just a general fascination with the unnatural that does it, no one thing.

J: Love all films, and all genres, but in horror The Devils’ Backbone and the Preacher comic series are way up there. I love the rebelliousness of the horror genre, and that it welcomes the most freedom and invention. It’s the punk rock of cinema. There is nothing better than making people laugh, cry and scaring the shit out of them, and if the marketing department has to stick that in a category, it’s gonna’ be horror. Also, we’ve met a lot of our horror filmmaker peers out on the fest circuit and they are a fricking amazing group. The future of filmmaking is looking really exciting, and a lot of that is because of what’s happening in horror right now. Everyone is pushing the boundries. Hard to even narrow it down, but Citadel, American Mary, The Innkeepers, Insensibles are just a few that kicked my ass recently. And all the people that made V/H/S are fucking heroes.

2. Growing up, were you the “weird kid” or was your upbringing pretty normal?

A: I used to be a relatively isolated kid: overweight, into video games and unable to get a date. But my upbringing was perfect (my parents are awesome, thank you very much!). I read a lot of Stephen King pretty early, though – that probably messed me up right good.

J: Where I grew up in San Diego if you didn’t play football, basketball or were a wanna-be gangster you were a “weird kid”. I doubt anyone gave a shit I was reading Frank Miller, watching Linklater movies, and spending my Friday nights at punk rock shows, but me and my amazing small group of friends got jumped more than once for being the surfer/skater/snowboarders trying to meet girls at parties. I found out when I moved away maybe all that stuff wasn’t normal.

3. When did you decide you wanted to be story tellers?

J: I recently had to choose between medical school and telling stories. I chose telling stories because I love it more than anything and have discovered it’s actually an important thing.

A: This wasn’t slow, it was like a lightning bolt for me: I was 14 years old and I met a talented friend named Aaron Higgins. He and his brother Julian would make these amazing stop-action videos with Star Wars figures. I got hooked so fast, and that’s that. We’re actually now all in the industry and work together often still, both very close friends.

4. Aaron, you worked across the board in the industry. Was directing always your goal?

A: I love the visual side of filmmaking quite a bit, so naturally, being a cinematographer and VFX artist is important to me, but the intention has always been to direct. Being in a co-directing team is perfection, because I don’t have to lose being the cinematographer in exchange for directing, or take on more than I can handle at once. It’s like having four hands and 48 hours in the day.

5. Do you want to continue as a cinematographer, or re-establish yourself solely as a director?

A: Hell yeah I want to keep shooting! If I get to direct and DP at the same time, that’s the good life. Hopefully in the future (as filmmaking changes) I can take breaks from directing to go shoot movies for my friends. And spend hundreds of millions of dollars making dinosaurs fight robots and stuff.

6. Justin, You started off by doing the short, A.M., How different was it jumping into a feature?

J: Aaron and I both have done so many little do it your self short films, low budget commercials, music vids, and new media stuff, that it didn’t feel like that big of a jump. There’s a shit ton more to learn on the business side of features, but the craft/art whatever is the same, on a feature you just get to do it for a whole bunch of censecutive days with the same people you love. There is nothing bad about having the honor of directing a movie you have creative control over, and if you have anything to complain about the experience you just sound like a dick.

7. There aren’t a lot of directing teams in horror. How did you guys come together?

A: We met at Ridley Scott’s commercial production company – as interns, not high-powered directors. They let us move mail around and sometimes get lunch for people, it was awesome. It was my (Aaron’s) first day and Justin’s last day, and like two ships crossing in the ocean, really hit it off. Worked on more and more projects together, one thing leads to another, suddenly, BAM. We have a baby and name it Resolution.

8. What is your writing process like when working together?

J: I try to write at least 6 pages a day, but when I really dive into a new feature I lock myself up for weeks at a time and set a page or scene quota. It’s not fun or a spiritual experience or anything, but obviously hugely gratifying, and discovering what you can scrape off the side of your brain is pretty fucking crazy. Writing is hard work like any other job, but it’s extremely cool to have Aaron reading draft after draft giving magical notes, developing the material, and know how lucky we are to do what we do for a living.

9. Can you tell me about the genesis of Resolution?

J: It was several things. One was that I never knew anyone growing up who went to a cabin in the woods with a bunch of hot girls to drink beer. Everyone I ever knew who went to the boonies of San Diego went to smoke crack, shoot guns and avoid paying their taxes. But more importantly, Resolution was created to exploit the dynamic between me, Aaron, Vin and Pete. During a low budget beer ad we discovered how well we work together so we decided to stop talking about making a feature and just do it. Also, I had the money to finance it in my checking account and was afraid if I didn’t spend it immediately I’d get hit by a fucking car or something and have to pay hospital bills.

A: The genesis for me was Justin saying “Hey man, I know you want to get more into directing, so I have this killer script we’ve been working on and the rockstar cast from that other thing and the full budget and a location and total creative control, would you please co-direct with me?” What the hell did you want me to say? I said thank you, I tried to call him Jesus but Justin kept insisting he’s just a man.

10. From script to final product, did the story change much due to restrictions (financial or creative)?

J: No. Again, Aaron and I have both been making films for so long the script was tailored to achieve everything we could without ending up with scenes that look like little kids impersonating Spielberg or something. The whole movie was constructed from day one to push everything as far as we could with the resources available to us, without, for example, disrespecting the art of Make-up FX and cheapening the story by putting a bunch of fake looking gore.

11. Are all the effects in Resolution practical, or do you use CGI for any shots?

J: Aaron is literally a visual effects genius. Some of the effects are practical, some are CG. Aaron is so good no one has ever been able to tell which is which. He’s a fuckin’ VFX G’ in addition to being a skull crunchingly badass cinematographer.

A: Some are CGI, but you’ll have to guess which. A gentleman never tells.

12. It can be a nervous experience, the first time your film is shown in public. What was it like to watch with an audience for the first time?

J: Just fucking rad, but specifically seeing that the scary stuff worked. The funny stuff we knew we had, the dramatic stuff too. Pete and Vinny are genius actors—can’t stress enough how much this is not bullshit… geniuses-- so we knew we had that. But scary stuff is created so much in writing and post-production you don’t know if all that theoretical stuff works until you see the audience shifting in their seats. There was this girl in Paris who left the theater trembling. Felt so, so fucking good.

13. What’s next for you two as a team?

J: Enough to fill 15 hour days, 7 days a week, but by far most importantly, three new features that will break your heart while making you laugh and scaring the shit out of you.

A: I don’t know what he’s talking about, I’m quitting filmmaking to pursue my real passion: owning oil companies. It’s too easy to make money in filmmaking and I want a challenge.

Doesn't it make you want to see Resolution? Here is the trailer below. Keep an eye out for the film and these two directors. You won't be disappointed!

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13 Question Marks of Horror with Inbred's Alex Chandon

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:18:00 +0000

Alex Chandon is a modern jack of all trades. A rare blend of both old school horror techniques and modern understanding. His new film INBRED has been haunting me for over a year. So much so that I needed to exorcise the demons with a sit-down called 13 Question Marks of Horror!

1.    What was the first film or experience that started your love affair with horror?

I guess seeing JAWS when I was 7. It changed my life and got me into sharks which led to horror films. My parents were great and let me watch horror films and read horror comics from a young age.

2.    You started off filming shorts which can call for a very different type of narrative. Was it a hard transition to features or did you find it an easy extension of your writing style?

I've always been into writing stories and I was self taught when it came to films and film writing and so I didn't really see the difference between writing shorts and features. A story can be told in minutes or hours and it is always fun trying to construct a story that works in each given time frame. What did take a while to master was the way of writing and formatting scripts correctly, which is very important.

3.    PERVIRELLA seemed like such a complex project. Was it a difficult project considering the amount of visuals and costumes required?

It was incredibly ambitious and very complex. The creator, producer Josh Collins shared my passion for models and miniatures and in camera effects and we both had such creative minds and such creative friends that got involved so the film could become this crazy, busy, fantastical world. The amount of work of every detail is pretty mind blowing thinking back. Everything in that film was made or built or altered... nothing could have been bought off a shelf... everything was unique. So it became a rather crazy labour of love for so many of us. I'm seeing Josh in a few weeks and we are talking about remastering a copy... I might get to do my 'director's cut' ! I think it could have a new lease of life.

4.    You were raised in the practical effects era but you are a digital effects artist. How do you marry the two disciplines?

I like to think the digital effects I am skilled in, such as 2d composting, is a very similar skill to old fashioned in-camera techniques or animation techniques... its just that I'm using a computer as the tool to create the visual trickery and magic. I am not asking a computer to do the work... or generate anything that doesn't already exist. I am using it to facilitate the job in hand.
But coming from a practical background has proved a very valuable asset as I can now heighten a practical effect with additional digital trickery, and therefore, hopefully fool the audience into how a trick is achieved even more.
I would still shoot an effect in camera as much as possible.

5.    Let’s talk Inbred. What can you tell me about the film?

What do you want to know? How long have we got?
INBRED has been a film idea I've had since 2001 when I wrote a 7 page treatment. In 2009 I got my feature-film mojo back after some years pursuing work in the digital effects field and I went back to the INBRED treatment and decided to simplify and update it and that became the project to make. I was fortunate enough to know some cool private investors and so the project went into production smoothly. I wrote the first few drafts of the script and then Paul Shrimpton did a great rewrite and that became the shooting script. Paul introduced a bit more dark humour and gritty Northern-ness to the script which I loved. Paul is also a film maker and we've been mates for years. He showed me to locations local to where he lives in Thirsk, North Yorkshire... and they were perfect for INBRED and so that's how the film became set in Yorkshire.

I'd loved 'back-woods' horror movies since an early age and felt no-one had really taken that classic American style genre and bring it to the UK... which has its remote communities with strange local folk. That's how the idea came about... what can we do with crazy-inbred-redneck-types in the UK.
The UK comedy show The League Of Gentleman was a big inspiration, as was Monty Python... and so it was always going to be a pitch black comedy film.
We had a smallish budget and a very ambitious script. part of the struggle was to persuade people we could do this for the money. I can't thank the crew and cast enough as they all made many sacrifices to work on INBRED and they believed in me and the project... and we've paid them all back by delivering a film we can be proud of.

6.    You’ve taken a sub-genre that is primarily known as American and taken it to a new level. What was your inspiration for the film?

Tobe Hooper's TEXAS CHAINSAW MASSACRE was a film I saw aged 14 or so and it freaked me out... I still love it today. That got me into 'back-woods' type films. I also saw DELIVERANCE and Craven's HILLS HAVE EYES and STRAW DOGS all before I was 15 and so it's a genre that has had a big impact on me. I also love SOUTHERN COMFORT and the finale was direct inspiration for our Inbred song. And of course... the start of AN AMERICAN WEREWOLF IN LONDON... we wanted to homage that so much. America ruled when it came to making 'back-woods' type horror films.
More recently I've really enjoyed CALVAIRE and WOLF CREEK which would also have inspired my subconscious.

7.    The protagonists aren’t the clean cut good kids that are the norm. Do you find it easier to create characters that have an edge since you can take them anywhere arch-wise?

That was the idea and it worked really well I think. The easy thing to do would have been a group of friends/colleagues going on a party weekend... like most every other 'teens get lost' film. I decided that it would be far more fun to have a group of very different people and with conflicts within the group and i think I'd been watching a reality TV show about 'Teenage Boot Camp' or something and the idea of teens on community service with care workers sprang to mind and it was perfect. It allowed for great interaction and tons of character arc potential, as you say.
I have usually taken the easiest option when developing characters prior to INBRED and from now on I will relish the challenge of trying to do a bit more as it makes the characters come to life, which in turn helps the actors embellish them.

8. There is a circus element to the film that seems to naturally go with the inbred element. Was this a natural fit for you?

Absolutely. The whole idea of the Inbred village is that it is stuck in the 60s-70s... a very un-pc era compared to now. I have vage memories of the early 70's... The Black and White Minstrel Show was on BBC TV. Fairgrounds and Circus's were very special occasions for the whole family. Variety Type theatre shows were the biggest shows on TV.
The villagers don't have modern TV or computers so they rely on the older styles of live entertainment, so the show in the barn was an idea that came naturally.

9. You’ve come up with some pretty iconic characters. Do you see Inbred becoming a franchise or would you like to move into other arenas?

Thanks for saying that... we never intended to come up with such iconic characters.. they just all came together and the end results are rather splendid! For instance I never expected Podge to be played by Dominic Brunt, who came up with that look himself... and so we never expected such a classic Podge performance... we actually expanded his scenes as the filming progressed as he was so cool.

The masks were designed by Dominic Hailstones as simple sketches and we had no idea how to make them but luckily a specialist costume maker lived locally and she created the beautiful masks that are worn in the show... and so each character has been a combination of many elements coming together and has been a very organic process... and so we're pleased they've made this impact!
I'm asked now a lot about another INBRED. If the right offer was there I'd love to do a prequel... which might be closer to my original treatment and would show how the Inbreds have got away with this for years and tears.

But right now I'm happy to not think 'inbred' and am developing some different ideas for films... all dark and twisted!

10.    We have a lot of the same films as a point of reference like Jaws and The Evil Dead. What is it about those films that set them apart in the genre?

They are true classics made by genius film directors allowed full creative freedoms to work their magic.
They are films made by minimal crews of experts and highly skilled technicians who loved their work and that love and passion screams out from every frame of these two films.
They showcase real human work and involvement. They don't rely on computers in their creation. They are more pure pieces of film-making that the modern day equivalents. I think we can admire them more because of the times they were created in and the fact they were so original as well.
And they weren't messed with by meddling studios or producers or distributors.

11.    You are also a skilled digital effects artist. Does that ultimately play into how you shoot?

I became skilled in digital effects after my last feature film and so INBRED is the first feature film I have been able to use my new talents and one of the main reasons I got excited by feature films again is knowing I had this new found skill and I wanted to employ it as much as possible to novel effect in INBRED, and so right from the start I was writing in ideas that would involve practical and digital effects in a way I felt would be quite innovative and hopefully startling on screen. I also knew my 2D composting talents weren't expert enough for a lot of the INBRED jobs and so I used a couple of very close friends who are way more skilled than me to help on some of the more complicated scenes.

12.    Europe is very different than America in certain respects. Have you found that horror fans differ from country to country?

Well this last year I've been fortunate to have been invited with INBRED to many festivals all around the world and so its been great to see how the different crowds react to INBRED and horror. I think in general horror fans are remarkably similar all over... they're really nice people! Considering we like or make the most extreme movies we are all such a nice bunch!
Some crowds are more raucous than others... I think European horror fans are the noisiest which makes for more fun I think! I was played some audio taken during INBRED's screening at Imagine Festival's Infamous Night Of Terror (in Amsterdam) and it honestly sounded like it was a riot! Perhaps not for everyone but I like a good raucous crowd when watching gory horror films!

13.    Halloween is on its way. What does a madman like you do for the holiday?

Whatever sounds like the funnest thing to do! I'm not fussy. I won't go out of way to make a big deal of Halloween nighty this year... watching a horror film with some cold ciders sounds like fun! But I'll be in Whitby UK the weekend just before Halloween and that should be fun... INBRED is screening and there's a Vampires Ball and so it'll be an all horror weekend of merriment, horror films and more merriment.

I have been known to go full-on-make-up for Halloween parties in the past... I do love an excuse to dress up as a hideous freak and terrify people on the streets! So maybe I'll get made up for the Vampires Ball... gatecrash it as a Zombie!

Thanks for the questions!

Find out more about this awesome film here:

www.inbredmovie.com

Explore the world of INBRED:

The 'Ee By Gum- Inbred Song' music video
http://www.youtube.com/watch?v=VVhfvCRbadk

'Ee by Gum-The Inbred Song' is available to download on iTunes.
http://itunes.apple.com/gb/album/inbred-song-ee-by-gum!-single/id562287136

Alex Chandon performing 'Ee By Gum' at FRIGHTFEST 2012 with the Inbred audience!
http://www.youtube.com/watch?v=z1gJhfws4xQ

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Anchor Bay UK picks up Alex Chandon's Inbred

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13 Question Marks of Horror with KNAC’s Crazy Craig

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:17:00 +0000

There is a mad man that roams the halls of rock radio and the backstages of concert venues. A legend in the Metal Music Community and the Left Hand of the darkest man in rock music. His name is Crazy Craig. We recently sat down for drinks and laughs as we discussed 13 Question Marks of Horror...

1. You’re a horror guy and a metal guy. Which love came first?

"Horror came first. I can remember being a very little kid and loving monsters. Being a little kid in the 70's, there was a lot of monster stuff around. Magazines, toys, model kits, trading cards. I loved all that shit. There was even monster wallpaper that I begged my mom to get for me, but since I couldn't go to sleep without the lights on, she refused! Anytime a local t,v, station would play an old monster/horror movie, I had to watch it. Other times, I would go to the local library and pour through all the books about film, especially horror stuff. VCR's were still a few years away, so I didn't get to see stuff like Halloween, TCM, and Friday the 13th until I could rent it. But by then I was hooked."

2. Since they seem to go hand and hand, did that love sort of feed the other?

"No, thanks to my parents, I've always had a love of music and started collecting records when I was a kid, but it was all top 40 stuff. When I was about 10 years old, I started getting into Kiss, Cheap Trick, Foghat, Zeppelin, stuff like that. Then when punk came around it blew my mind. That's when I disavowed everything that wasn't punk. But due to punk opening up my mind, I started soaking up every new music genre when it was all said and done. I really didn't get into metal until I was 17, which is kind of funny since I'm considered a metal expert now. lol."

3. What was the first film that you remember scaring the hell out of (into) you?

"That's a good question. I can remember images from movies that both mesmerized and disturbed me like Nosferatu, Phantom of the Opera, House on Haunted Hill, Picture of Dorian Gray, Black Sunday, and Village of the Damned. But I have to say the one that fucked me up for life was the t.v. broadcast of 'Don't Be Afraid of the Dark'. I know it seems lame now, but as a 6 year old seeing that for the first time without any warning (there weren't any Parental Advisories in 1973, kids) it literally ruined my fragile psyche for years after that. Well, at least until 2 years later when the t.v. broadcast of 'Trilogy of Terror' did even more damage. But seriously, I think the makers of DBAOTD had no idea the terror they were going to instill in kids when they made it. Look it up on imdb, and you can read page after page of testimonial by a generation that were scarred from seeing it. Then there was the trailers (not even the actual films) for 'It's Alive' and 'Magic' that sent me into a tizzy. After that, it wasn't until I saw 'Black Sabbath' in my teens that I had a movie stick with me for years later. I pretty much was acclimated to horror by then. "

4. You’ve been a staple in the music industry for years. How did you start out?

"Well, I started as a Mobile D.J. at the ripe old age of 16. I started an internship at KNAC when it was a terrestrial station at 21 and been with them ever since. After that internship ended, I started another one at Enigma Records, until its demise in 1990. I then got a job running the mailroom at Delicious Vinyl records which led to A & R/Marketing at Malicious Vinyl, a rock subsidiary that we formed. After Malicious folded, I did nothing for a year until I went to work for Glenn Danzig as his assistant and office manager of Verotik, Glenn's comic publishing business, which leads us up to now."

5. You host Super Rock Sundays on KNAC, was it difficult becoming the man behind the mic?

"At first it was, cuz it really was a trial by fire. When KNAC.com first started, they needed D.J.s, so they literally threw me in front of a mic and let me run with it. Understand, this was something I always wanted to do and worked towards since I was a kid. Now it's second nature to me. I've done almost 700 shows in the last 14 years".

6. You’ve been all over the world and had some sinful adventures. Where’s the scariest place you’ve ever been?

"Mississippi, Michigan, Pennsylvania and New Mexico. I've put myself in scary situations in my life, so I'm used to it. But the scary 'non-paranormal' situations in those places were out of my control. I've lived in 2 haunted houses and work in another. That shit doesn't scare me. lol"

7. You’ve been Glenn Danzig’s right hand man for years. Do you two share similar interests?

"Yeah totally. I think the main reason I've worked for him for the last 14 years is cuz we get along real well and share a lot of the same interests. He's like the older brother I never had."

8. When it comes to horror films, you two are from completely different eras. How have you influenced him and vice versa?

"Glenn has schooled me on all types of horror movies I didn't even know existed. He has really given me an invaluable education on movies, art and comics. On the other hand, I could probably count on my fingers the instances that I hipped him to something, he knows that much about horror."

9. Every October, you change up your show and host “Scary Rock Sunday”. How is that show different?

"I basically play the same stuff I do on Super Rock Sunday, only I group the songs into horror genres. I also play a lot of horror trailers and horror comedy songs. And I host the show as Count Crazy Craig, of course."

10. Can you tell me how Count Crazy Craig came about?

"I don't really remember. I think I just started talking in the Bela Lugosi voice one October and it developed into this whole other persona that takes over when I do it. Over the years, the voice started sounding like a cross between Lugosi, Triumph the Insult Comic Dog and Count Floyd from SCTV."

11. You’re taking the next step and gearing up for a horror themed video show. What can you tell me about that?

"Hart Fisher from American Horrors had been listening to my shows last October and asked if I wanted to do something like a rock video show for the channel. Since I was trying to figure out how to be Count Crazy Craig all year round, I said yes. I've been writing lot's of sketches for it and hopefully will be filming soon. The show is called "Funeral Funhouse with Count Crazy Craig".

12. Now that you have two shows under your producing belt (the other being the seedy soap “Hollywood Law”), would you like to try your hand at feature films?

"Yeah, I've always thought about making films since I was little also. I mean I've made a ton of shorts and a couple of public access shows. I've also worked on several feature films and a shitload of music videos, so it wouldn't be a stretch for me to tackle it one of these days."

13. Between your work and hobbies, you live the horror every day. What does a man like you do to enjoy Halloween?

"I eat a lot of candy and smash pumpkins, lol"

You can hear me on Craig's Scary Rock Sunday from last week below. We talk about Screamfest, Blumhouse of Horrors, American Mary, and more!

http://crazycraig.podomatic.com/entry/2012-10-14T21_47_37-07_00

http://crazycraig.podomatic.com/entry/2012-10-14T21_19_16-07_00

Other Horrific Musings:

13 Question Marks of Horror with The Sideshow Sirens

Just Another Fright at the Park: Universal Halloween Horror Nights - Opening Night

Sinful interview with Jason Blum and a look at The Blumhouse of Horrors!

Exclusive: 13 Question Marks of Horror with Sledge Creator Kristian Hanson

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:15:00 +0000

If you are a horror fan, remember the name Kristian Hanson. He is a current writer for the excellent zombie themed news website The Daily Dead and soon, will be unleashing his own brand of horror on the world, it's called SLEDGE. Head inside for our talk about Sledge, horror film making and an EXCLUSIVE first look at Adam Lynch, the slasher from SLEDGE! Check it out! 13 Question Marks in your face...

1. What was your first horror experience?

My first horror experience happened when I was 5 years old. My mom had brought home a kind movie about a doll named Chucky. I remember seeing Child’s play and that night having a nightmare where I woke up and I had good guy dolls all around me! I ran to my mom’s room and ended up sleeping in her bed and still remember telling her when she asked me what was wrong that “I see Chucky everywhere”.

2. You spent your High School years in the land of Gilbert, Arizona. What did you do there, anything exciting?

NOPE! Haha. I grew up in a Mormon town that continued to grow as I grew up. The houses across the street from me in High school when I was a kid was actually a corn field. I can’t say I ever went and tipped cows or any kind of stereotype like that, but I would go out with my friends to movies and to the mall. My friends and I would constantly do stupid and random things to make one another laugh. One time, I was chasing my best friend Brandon through the Superstition mall and he picked up a wet floor sign. When I got close to him, he swung it at me with all of his might. This is a 6’4 guy, and thank god I got my hand up in time to block it. When it hit my hand, I fell to the ground and he continued to run outside of the mall. I could hear people going around me going, oh my god, is he all right? So I got up all wobbly and ended up following him outside. Him, along with the rest of my friends were beat red from laughing. I guess that is where I started my acting, was getting plowed by a wet floor sign from my buddy Brandon.

3. What brought you out to California?

Military actually brought me out to California. I had just done a tour in Iraq and changed my career field. I remember going to Universal Studios with my mom before going to Iraq and something kept telling me that I would be out here living and working one day. I’d still love to work with Universal one day and work on that famous back lot filming a horror movie where all the original classics were filmed.

4. You made your name writing for Daily Dead. How did you first get into that?

I actually met Jonathan (the owner of the site) via Twitter last year. I had contacted him a couple times about my novel The Fat Kid’s Wolfy Revenge: Not For the Weak Hearted or Mature Minded. He was looking for some writers so I contacted him and he liked the Assly videos I do on www.Assly.tv and liked how I got along with people and my writing style.

5. What made you finally take the plunge into film making?

My now wife actually helped push me into it. My business partner John who I also met via twitter to help do the special effects on my Assly videos contacted me to write a script for a Psychic Lady that lives in New York. Once I wrote that one, I got hooked on writing funny and horrific films. When I finished the script for our first film F4L:Friends4Life, my wife told me to tell John to come from New York to film the movie and we did that in 3 days. When we finished post on F4L my wife again said, hey, why don’t you go up to New York this time and film SLEDGE, and again we did that. As you can see, she is a huge support for me along with my mom, dad, brothers, sister and the rest of my family and friends who constantly support me in my crazy ideas.

6. You’ve made your second film; Sledge. What can you tell me about the character?

Adam Lynch is a slasher, but not a typical Slasher. When I wrote the character, I wanted him to be a mix of things. There are so many brooding slashers that don’t talk. I wanted mine to talk and be funny and someone the crowd can get behind. He likes to talk shit to the people before he kills them and the deaths are bloody and a lot of fun. He is not right in the head and believes he is living in a real life video game or movie, and whenever he kills the people, like a video game, all new victims respawn for him to add to his collection of masks that he takes from his victims and places in jars of water.

7. What was the genesis of the story?

Growing up I always tended to be the 5^th wheel when it came to my friends. I never seemed to have a girlfriend, so I was always the funny smart ass. That is what I did here as well, except my main character has the hots for one of the girls in the group, again, like my true life story. So he constantly makes fun of her boyfriend due to jealousy. Those that love horror films will enjoy the one-liners from movies like Ghostbusters and references to Aliens etc. I can guarantee that people will really enjoy this film for the death and all around fun of the film.

8. This was your second shoot. What was it like stepping behind the camera?

It was a lot of fun. John Sovie II is actually my co-director, so we shared the responsibility. He is amazing when it comes to camera angles and setting up the camera, so I would work with the actors a lot while he set up the shot, then we would get together and discuss what would work best for the particular shot with lighting etc. I have heard a lot of people cannot do that due to egos, but we don’t fight, we just find what will work best and agree with it and go with it. It was honestly a great time, too bad we only had four days to get it all filmed. The weather gods were also very kind to us, it only rained for a short time.

9. What are your plans for Sledge?

I want Sledge to go to the film festival market. I would love for it to be picked up by ScreamFest and all of the other amazing horror film festivals that are around. Most of all, I want people to just love the film in general. I am an advocate for Independent horror films and comedy, and I believe we molded the two together nicely. When I got done filming, I took a look at our movie and said “Damn, this reminds me a lot of Army of Darkness”. I say that because when we started filming we were thinking it would be scary kind of like the first Evil Dead, but by the end, it turned out so naturally funny and entertaining, that one of my favorite films, Army of Darkness instantly popped into my head.

10. Who are other young indie film makers are you feel are changing the Genre?

There are so many out there that I don’t want to name names and leave someone out. I believe anyone who can come up with a fresh idea and film it is changing the genre. With the invention of HD cameras where you don’t need actual film, anyone can be a filmmaker today. I believe if you have a passion and a script, you can go out and make a movie. It may not be the best film ever, but you get the experience you wouldn’t get anywhere else.

11. You’ve met a lot of independent horror directors. What would you say is the thing that you all have in common?

The one thing we all have in common is the passion for filmmaking. Being Independent, besides not having any money, we also don’t have any rules. You can watch countless movies and hate something about an ending, and this is your chance to make a new ending that nobody expects. The same tired storylines suck, and without a big studio breathing down your throat for final cut, you can say, yep, that is what I want.

12. As a fan of the classics but an active filmmaker today, how do you feel about all the technology used now?

I think CGI is a nice tool, but it shouldn’t be the ONLY tool. I am a huge fan of Practical effects and I believe that is what should be used UNLESS, it is not possible to do it. CGI to me looks way too fake when it is used constantly. Case in point is An American Werewolf in Paris. People were so excited for it but when they saw it, they were extremely disappointed after Rick Baker did such an amazing job with the London version. If you can do practical, then do practical. That is my honest philosophy on it.

13. What is on your agenda for the horrific future?

I have about seven scripts done and I would LOVE to make them all. They are all fresh films and fun. They are movies that will make people laugh and scream and go, wow, this guy has a screw loose, but that is what I want. I grew up in Gilbert, Arizona and I would love to film a zombie movie I wrote for that town or a slasher film I wrote for that town. It would be such a fun experience because I could have my family and friends on set to play extra zombies and things like that. I also would love to film that Psychic ladies script for her. She has lived such an interesting life and the story would scary the hell out of people. When I wrote the script I did not add or embellish anything that happened to her and that is the scariest part. I put myself into her character for four days and it was pretty damn scary to tell you the truth.

You can meet Adam and get the EXCLUSIVE sticker at Monsterpalooza in Burbank, Ca October 26-28th. http://www.monsterpalooza.com/sonofmonsterpalooza/

For more on Sledge visit and LIKE it on Facebook: https://www.facebook.com/SLEDGEmovie

Other Horrific Musings:

Screamfest: The Collection (2012) The Sinful Celluloid Review

Sinful Celluloid: Is it really real? Hate Crime (2012)

The Slasher Reborn: Behind the Mask: The Rise of Leslie Vernon

13 Question Marks of Horror with The Sideshow Sirens

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:13:00 +0000

I first saw the Sirens at the Queen Mary's Dark Harbor Halloween event and was absolutely blown away. I've seen plenty of sideshows but never with such style. Who are these ladies? There are several, but the ladies of that evening were head Siren Bizzy, Aurora, and Serenity. I recently caught up with these Celluloid Sinners for a little thing we call 13 Question Marks of Horror...

1. Can you tell me the origin of the Sideshow Sirens?

Bizzy: The Sirens is a group of women that started with some close friends who chose to form a circus sideshow, which then grew into a phenomenon that inspired other women to run away with us. It began, as almost an exercise, a way of conquering our fear and our limitations, then became a way for us to help other women conquer theirs.

Aurora: The core members are Bizzy (our fearless leader), Orphaned, ,Widget, and Serenity, who have since welcomed many other women. Like most sideshows, the troupe was mostly formed by women who wanted to become sideshow performers, not women who WERE Sideshow performers.

2. Everyone takes a different path. Were you raised around sideshows or was it something you sought out?

Aurora: I was always a strange child. I was adventurous, precocious, a tomboy and more, and to be honest I never quite fit in. It wasn't until I got older and discovered the “freaks and geeks” that I realized I'd found my people. So when I had Sideshow raised an option I latched on and pursued it with passion! What a wonderfully strange thing to do, and I love every second of it.

Bizzy: For most of my life I think the closest I came to sideshow was watching this one Sting video that had stilt walkers and fire-eaters and jesters in it... And it totally blew my mind! I was raised Pentecostal Christian in a small town, but somehow I gradually took a turn towards the "subcultural".

By the time I got out of school, moved to a bigger city and started meeting people who were into things like circus and sideshow and could teach me I was SO ripe and ready for it!, but, before that? It looked like a pretty unlikely path for me…

Serenity: I sought out the sideshow. I come from a family of doctors and lawyers, definitely not circus folk. In fact my family still doesn’t know what to think of all of this. Ha-ha!

Bizzy: Most of us sought it out in some way I think, although some of us feel like maybe it had ahold of us before we ever knew it did. One of the tenants of our show, though, is that anyone can be a sideshow performer, it just takes courage, determination, and will. Those are qualities we all possess, sometimes we just forget.

3. When it comes to your specialty, do you choose one that maybe interests you or is it more based on a natural ability that you possess?

Bizzy: Depends on the act. Precision weapon work and contortion for example are easier if you have natural talent. Pain stunts like human pincushion or Bed of Nails are stunts that simply require that you be willing to use your higher brain function to manage your natural instinct to avoid pain.

Serenity: My specialty is fire, fire eating and fire breathing. Not only did I take to it naturally but I wanted to do it from day one, couldn't want to start training in it. Done right it is so daring and special. Plus I have much respect for fire, performing with it is like a duet. It defiantly takes its own role.

Bizzy: I like to think that, for the most part, they end up being the same thing. You get drawn to an act because something in you knows that that right there is for you. All the better when it scares you at first but you just know you have to do it!

Aurora: A little bit of both is fair. I have a natural curiosity that lends itself well to the skills one sees in Sideshow. I enjoy playing with sharp objects and putting strange things in my mouth, so there you have it...

4. Was there any facet of performing (either skills or preparation), that freaked you out when you started?

Bizzy: Preparation is a huge part of it.

Aurora: Yes!

Bizzy: Having every detail of everything I need to do rehearsed, set, and in my body and brain and executing it all as flawlessly as possible, and beating myself up otherwise.

Aurora: No! No, beating yourself up!

Bizzy: (smiles) I still have a lot of that in me - it's just who I am - but I've become way more relaxed and confident on stage, and given that performances are much better received when the audience can't smell your neurosis a mile away I think that's a wonderful thing…

As far as which acts freaked me out? All of them I think. Sideshow and fear go hand in hand. In fact one of my teachers and friend Professor Quandary will tell you, fear is your friend in Sideshow, it tells you when to be careful.

Risk without fear is foolishness This show involves risk, but if we feel the fear, use it to heighten our awareness of the risk, then choose to take that (carefully managed) risk anyhow? That is our definition of “Courage”.

5. Halloween is your busy season. Do you think this is due to the overall aesthetic of the show or something deeper?

Bizzy: To be horrified (Horror-fied?) by what we do is natural. We push the limits of human strength, endurance, and most of all taboos. That will tend to be disturbed by what we do, and a lot of it IS disturbing. But it is a time of the year when we like to have our primal human instincts stimulated, to feel that, and that’s what some of us love about being a sideshow performer. And that feeling of fight or flight is what puts the audience right up there with the performers, because that is why many of us do this in the first place.

Serenity: Halloween and Sideshow naturally just go together. So yes we're going to be busier this time of year. We do the things your mother told you never to do. We do the dangerous, the things that would get a normal person hurt, the things that give people the oogies. And people want to feel that, to be allowed to feel and experience it even by proxy, to know it can be done. And Halloween is just the excuse for it. It makes it more socially acceptable to the mainstream. It’s when we get to reach out and pull them in.

6. In your personal lives, do you deal with a lot of misconceptions about who you are?

Bizzy: Mostly they think we cannot be as tough as we are because we are young pretty, and many of us look like the proverbial “girls next door”. They assume we must use magic or misdirection to achieve the stunts we do. Sideshow is a business with a long and checkered past, and we have to shake off the misconception that we are tricksters, or that we were born different than other people. What makes the show unusual is that we are JUST like everyone else physically, but we CHOSE to do this. That takes something.

Aurora: I take great delight in shattering misconceptions. On the outside I appear to be your typical air-headed blonde California girl, yet while I embrace that delightful aspect I'm also strong, intelligent, deeply nerdy, and happy and willing to get my hands dirty to have a good time.

Serenity: I do deal with some misconception about whom I am because of how I look. But in truth I think most would say the same

7. When learning a new skill, do you find you’re most nervous when trying it for the first time or performing it for the first time?

Serenity: I'm more nervous when performing a stunt for the first time, which for me is actually when I do a run through for my troupe. I don't know why but I just want to get it so perfect that first time, I get massive butterflies in my stomach.

Bizzy: Actually, I think trying it for the first time is scarier for me too. One of the scariest stunts I've done I actually did for the first time on stage! I understood the principles, I'd seen it done several times, I knew my body could take it, but long story short, there wasn't time to physically rehearse it! It was just a whole lot of trust and performance adrenaline that got me through, and I find that that usually keeps me in a can-do headspace more than when you're about to eat glass or stick a needle in your face for the first time.

8. The general public often equates sideshows with horror. Is that something that you find personally troubling or do you accept that as par for the course?

Serenity: Sideshow = Horror. Hmmmm. I can see that. I don't think it's troubling at all, in fact I think it helps out our show a little bit more. If they pump themselves up that way before we've even gotten on stage, more's the better. :-)

Bizzy: That's natural and something you're better off accepting, but what's great about it is that we get to take that idea and totally subvert it! It becomes basically a blessing for us because we get to use it to give people even more of a shock and a surprise than they were expecting! Let them expect horror and let us leave them pleasantly twisted up in the head.

9. Each performer has a set of abilities that the average person doesn’t possess. Do your skills as a performer ever come into play in your day-to-day life?

Bizzy: Totally. I have a decent amount of confidence in my tolerance for pain and a tendency to push myself that extra mile. Plus I'm about to give birth so I'm really counting on it, especially since I'm taking bets on whether I go for the epidural!

Aurora: One of the most important aspects of Sideshow is overcoming personal fears and finding and exploiting inner strength. It's those skills that I have strengthened through my involvement with Sideshow that I am able to translate to many facets and challenges in my life.

10. When performing any of your routines on stage, would you say it’s more important to prepare mentally or physically?

Serenity: Mentally. if we are not mentally present, or in any way nervous, someone could get hurt. I can't stress this enough: we not only hold our own safety in our hands but that of our troupe members as well.

Bizzy: And it is a responsibility we all take seriously.

11. With any specialized group there can be a sense of competition, would you say that the sideshow community is competitive or more of an extended family?

Serenity: The sideshow community is so small that we are really just a big family. You should see us when we find a new person. It's like finding out you went to the same school. You're more likely to end up working with that person than against them in the future, honest.

Bizzy: I know that many businesses in entertainment can be competitive, but so far we have had the good fortune of working with great performers who have been nothing but helpful, and we have tried to be

12. You do shows for all types of different groups. How do you go about choosing the routines that you perform for a particular group?

Bizzy: Part of Sideshow is pushing people’s boundaries, so we have a lot of the same material for all different groups. We try to keep it varied within the show to keep it interesting for a variety of audience members.

Aurora: Sideshow is more diverse than people realize, it has elements of circus, comedy, and street performing, to which we add the elements of Burlesque, Vaudeville, and a little storytelling thrown in! So the only thing we do significantly different is we don’t do human pincushion for children’s parties (and yes, we get hired for those from time to time).

13. Sideshow Sirens is growing larger and larger. Ultimately, what would be the most fulfilling for you as a performer?

Aurora: Well, we love the audiences and the lights, and someday we hope to be doing larger venues and national tours.

Bizzy: So other than having our own touring show, Broadway, maybe Vegas?

Serenity: Yeah! Vegas, baby! I would love us to have a home show in Vegas like Cirque (Can you just imagine?), and then another half of our troupe traveling all over the world! I have a lot of circus friends in London I need to visit you know. Sideshow is not just growing, it has arrived, and we are ready to see where it takes us. Squee!

You can check out this AMAZING show this Halloween season starting September 28th at:

Hollywood Sports Paintball Park

9030 Somerset Blvd
Bellflower, CA 90706

(562) 867-9600

http://www.hollywoodsports.com

and starting October 5th at:

Los Angeles Haunted Hayride

Griffith Park, Old Zoo
4730 Crystal Springs Dr.
Los Angeles, CA, 90027

http://losangeleshauntedhayride.com/

Other Horrific Musings:

13 Question Marks of Horror: Wrong Turn 2 's Matthew Currie Holmes

The Los Angeles Haunted Hayride Returns

Take a roll in the Hay with Elvira Mistress of the Dark

13 Question Marks of Horror with My Pure Joy's James Cullen Bressack

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:10:00 +0000

If you're a fan of extreme horror then you're probably no stranger to James Cullen Bressack. This one man film crew is responsible for such extreme horror like "Theatre of the Deranged II", 'Treasure Chest of Horrors', and "My Pure Joy". I recently caught up with James to discuss his new film that's guaranteed to shock and disturb; Hate Crime. Here is another edition of 13 Question Marks of Horror.

1. What was the first horror film that you remember seeing?

The first Horror movie I remember seeing was HellRaiser. I was obsessed with the movie as a child. I liked how pinhead looked. He was awesome. I guess I was about 4 years old when I found the VHS in my family collection. I kept holding the box and staring at the cover with pinhead holding the box in his hands. It looked so cool. I kept asking everyday if I could watch the film, of course my parents said no. So I would just sit there everyday, once a day, staring at that box trying to create what the story of the film was In my head and loving how pinhead looked. I was a reflection of pinhead, he held a box in his hands and I held the box of him holding a box in his hands. After a month of asking and staring at this box, my dad finally said I could watch it, and I did. That was the day my love affair with horror started.

2. How did that love progress into hardcore?

It was just a natural progression to be honest. The more horror films I watched the more I began to love the genre. They felt like dark fairytales for adults. I felt like I was seeing something I shouldn't see and loved it. The horrors of the mind or human nature.

3. You started directing at a young age. How did that come about?

I honestly shot my first short one day in 6^th grade because I could. I was at a friends house and the camera was there. I had been thinking about making a movie for some time, because I had been watching so many films. So we picked up the camera and just shot something. The movie wasn't very good but it was a lot of fun.

4. You are a one man film crew. How and why did you learn so many facets of film making?

I taught myself everything I know, or learned it from watching films. I also learned a lot about writing and story telling from my father and grandmother. I had to learn everything I could because I simply didn't have budgets to have a crew, or friends that would volunteer to help that knew how to do what needed to be done. At the very beginning no one really wanted to help out, and I think it worked out fine because I needed to learn how to do it all. It strengthened me. I was the only person I could count on back when I was making shorts.

5. You started off making several shorts. Were the bulk of those early film horror or were you experimenting in different styles?

They were actually all, but two, comedies believe it or not. One that wasn't a comedy was a horror film. The other a romantic silent film. I guess we see which style stuck with me most. I had a lot of fun experimenting with the other genres though and would love to branch back to them at some point.

6. How did you decide to jump into features?

I just felt it was time. It was now or never. I had just graduated highschool, I decided to write a feature and see if I could get it made, if I could then it was a sign, if I couldn't then I would go to College for film school. Luckily I got it made! That film was called “MY PURE JOY”

7. Your first feature was “My Pure Joy”. What was the genesis of that project?

I had just graduated high school and wanted to make a film around my mental state really. Strip away all the murder and at a base level the film is about growing up and moving on. Ending friendships, splitting from your parents, saying goodbye to old girlfriends, defeating old rivals, moving from the nest, and all while completely filled with angst. I wanted to make a movie that was part SUPERBAD and part AMERICAN PSYCHO.

8. A lot of independent film makers make the mistake of going very tongue and cheek. Did you have any urge to go “silly” with the kills?

I like to do interesting kills. I wouldn't quite say silly, but I do have an over the top style. I'm not afraid to make an audience squirm or say what the ****! My Pure Joy they were a bit over the top, but I think in a sick way rather then a funny way. If people laugh its because they are uncomfortable, or as sick in the head as I am. Let me leave you with this question, is it funny to see a woman's nipples cut off or a man's tongue cut off or a girl get stabbed in the vagina in full screen closeup (entry was shown)? Because that all happened in MY PURE JOY, so as I said morbid, not silly.

9. Your new film is titled Hate Crime. Is the title self-explanatory?

It is 100% self-explanatory and yet I do not think the title can prepare you for how severe the crime of hate in the film is.

10. It’s a very dark and hard watch. What was the message you were trying to get across?

The message I was trying to get across was that hate in this world is an epidemic. There are so many barbaric crimes committed every year against people due to prejudice, and if we don't take notice then it will only get worse. History has a tendency to repeat it's self. We can no longer ignore whats going on, and I figured the only way to get people to realize it was to shock them.

11. You’ve stated that the film is based on some personal experiences. Can you elaborate?

Last year I was on my way to oklahoma city with Jarret Cohen for a showing of MY PURE JOY. We stopped at a little bar in Texas on the way there. Jarret, whom is also jewish, was harassed at a bar we stopped at for being Jewish. He was surrounded by skin heads. The skin heads kept asking to see his horns and making fun of him. Someone walked up to me and told me that we should probably leave before something bad happened so we did! Thankfully all they did was heckle, however after experiencing Jarret and I had to start writing this film.

12. Do you have your next project after Hate Crime yet?

Yes I do! The film is called PERNICIOUS and it is shooting in Thailand in January. I wrote it and am also directing it. If you would like to keep up to date with the film please visit www.perniciousthemovie.com

You can also like the film on facebook @ https://www.facebook.com/pages/Pernicious/430263560346476

Or you can follow the official film feed on twitter by following @__pernicious__

The film is being produced by Daemon Hillin and Benetone films!

13. What do you hope people take away from your films?

I hope they take away an experience. I hope that my movie makes them feel something and I hope that they allow me to share my stories with them.

Other Horrific Musings:

Is it really real? Hate Crime (2012)

13 Question Marks of Horror: Wrong Turn 2 's Matthew Currie Holmes

13 Question Marks of Horror: The Hard Cut Director Vince D'Amato

13 Question Marks of Horror with The Crew of The Queen Mary Dark Harbor

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:09:00 +0000

One of my absolute "Do Not Miss" attractions every year is "The Queen Mary- Dark Harbor". Living in Los Angeles, there is always plenty of creepy around, but its always a similar kind of Creep. The Queen Mary gives you something more. There are truly scary mazes within the ship (including the real life haunted Pool area) as well as the all new Dead Rise! My personal favorite is The Village of the Damned, which is a sort of Hills have Eyes Village- scares the hell out of me! But that's not all you get. There are live bands that rock and great food to help you survive the night. It truly is a Halloween Party with an ever expanding family.

I sat down with the team behind the horrors to see what they do and why they do it. We sat down for... 13 Question Marks of Horror! (Queue spooky music)...

Steve Sheldon – Queen Mary, Director of Entertainment Events

David Wally – Queen Mary, Talent Director

JJ Wickham – Queen Mary, Production Designer & Art Director

13 Question Marks of Horror:

1. The Queen Mary’s annual Halloween event is a leading force in fright every season. What brought you to the decision to start a yearly fright fest?

SS: The Queen Mary is not just a destination, but an event venue as well, hosting dozens of events each year. Coupled with its haunted history and being cited as one of the most haunted places in the world, it really seemed like a perfect fit for a Halloween event.

2. What is it that you love about doing the event every year?

DW: Casting, directing and managing the talent for “Dark Harbor” is a deliciously complex and challenging endeavor. It is such a rewarding creative experience to work in collaboration with the uber-talented heads of the other departments such as Production, Technical, Costume and Make-Up Design. Additionally, everybody who works for the Queen Mary are thoroughly professional and exceedingly helpful in mounting this massive annual event. Mostly for me, though, it is personally rewarding to go into “battle” each night with my devoted support staff and the 225 Monsters who have become such good friends.

JJW: As the Creative Manager of this event, I LOVE exploring and finding all of the different ways to terrify people using theming, blood, and story telling! Every year we get to reimagine ways to realize people’s greatest fears and I certainly don’t do it alone. We have an incredibly talented group of creative minds working on this event - we bounce ideas off of each other, laugh about our own fears, and in the end come up with some of the most imaginative ideas in the industry. This year is particularly rewarding because we are bringing The Queen Mary to life in a whole new way. It has been a fascinating researching the past of this great ship. We certainly have a lot of stories to work with given the historical life of this ship. I am so excited for everyone to see what we’ve been brewing. Keep your eyes open – sneak peaks into 2012 Dark Harbor are going to start appearing!

3. You can definitely see the level of detail that goes into the event. How long is the design/set-up process? Do you start prepping for the following year as soon as the final night ends (as in Nightmare Before Christmas)?

DW: So many of us have grown so close as friends and collaborators that we tend to stay in touch year-round. And there are periodic long-lead conversations about certain aspects of the next event. But the real focus seems to start simmering in May and June before picking up steam in July and August before we are racing through September to get ready for Opening Night.

JW: Wally is absolutely right. This event never really does seem to shut down for us; we keep coming up with ideas year round. But “officially” we had our first walk thru meeting this year back in February. The bulk of the design work, for our new characters and theming happened this year starting in late May. We started a small crew to start setting up the mazes at the end of June and we’ve been growing our crew ever since. We will be full steam ahead from now until October 5^th! So in the end we are talking about a good 5 to 6 month process.

4. Halloween Terror Fest, Shipwreck Halloween, and now Dark Harbor; how do you come up with these amazing themes?

DW: My first year working on the Queen Mary’s Halloween event was in 2010, the first year of “Dark Harbor”. Clearly, our effort that year was to create a completely new concept that year. Tom Cluff came up with the original concept for the overall event and designed “The Cage” maze inside the Dome; Jeff Schiefelbein designed the other mazes. Then, in 2011, JJ Wickham came in and did an incredible job of expanding upon the previous year and putting her own creative stamp on the original concept. And now, in 2012, JJ has expanded and overhauled almost every aspect of “Dark Harbor” in the most exciting fashion. While “Dark Harbor” will always dazzle the uninitiated, those who venture back for a repeat visit are in for a whole host of thrilling new experiences!

5. Do the designers of the events come from a horror background or is it more diverse?

JJW: We come from several different walks of life. My background is stage design for theater. From that background I worked in many different venues from themed events, film, corporate design, and live music. Many of the other designers share my background in theater design and we do have a small group of folks that come specifically from the horror genre background. We all have one thing in common though – we love horror and we love this event.

6. I absolutely LOVE Village of the Damned. Are there certain attractions that prove a stand out every year? How do you keep fans of those attractions coming back?

DW: We have found that EVERY maze is somebody’s favorite. “The Village of the Damned” is long and twisted and has a great sense of humor to it. So it is no surprise that you love this wonderful maze. But for others, “Submerged” might be their favorite; for some, “Hellfire”; or “Containment”: or “The Cage”; and then some people prefer the Monsters and Sliders on “The Street”. And, of course, you cannot manage or meet each individual guests personal expectations. BUT… Goal number one for us is to provide the best guest experience we can in EVERY aspect of “Dark Harbor” and come up with new ideas each year that will both satisfy and surprise every guest, whether they are attending for the first or twentieth time.

JJW: Well, in that case, I am certainly excited for you to visit The Village of the Damned this year! That’s all I’ll say about that J I still haven’t been able to pick out my favorite maze. I love how different they all are from each other. I think that is what is important to make each maze stand out . . . make them special and unique using production design, unique effects and scares, and intriguing themes. I don’t want to give too much away, but this year to keep the existing attractions fresh and fans coming back, we have reimagined the way guests will experience these different attractions. Everything you love about the Village will be waiting to greet you, but I assure you, it is NOT the same maze you remember from last year!

7. With the ship being so large, are there plans to incorporate other areas into the mix?

SS: Each year, we work to expand the Dark Harbor event to be sure it continues to be exciting and frightful whether it’s a guest’s first or 10^th time at Dark Harbor. For example, this year we have expanded, and are introducing a new maze, Deadrise, and new characters inspired by the real-life hauntings on the ship.

8. The atmosphere of each event feels like the Ultimate Halloween party and music is such a big part of that. How do you choose the bands that perform?

SS: We do everything possible to ensure a great time for all our guests and the choice of performers is part of that experience. Like our event, we look for unique, creative entertainment that fits the feel of the event and gives guests another reason to linger and have a great time.

9. The bands featured are mostly independent bands. Would you be open to any big names like Rob Zombie or The Misfits joining the event on occasion?

SS: We’re definitely open to any new partnerships or performers who appeal to our visitors and enhance the experience.

10. Are there any specific horror films or styles that directly influence the mazes?

JJW: We are horror film fans, so we are certainly influenced by many of our favorites. I especially love to nod to the style of Dario Argento. For the lighting and mood of Containment, we are trying to channel the lighting and mood of 1977’s Susperia. We are constantly making all sorts of movie references as we work in the mazes.

11. Turning attractions into films is common place now, with the setting and stories from each maze so ripe for the big screen. Is that something you would consider?

JJW: I completely agree with you, any one of our mazes would make for a scary movie! Here’s some news hot off the press, and I don’t want to reveal too much, but I particularly think the story of our new maze and characters on the big screen might just make my favorite horror film of all time. Yep, that’s right we are getting a new maze! J

12. Places like Dark Harbor and Haunted Hayride seem to be so much more in touch with the spirit of the season, creating a truly memorable Halloween experience. What do you think gives you an advantage over the large theme parks?

DW: Halloween is such a popular season and the Greater Los Angeles area is so heavily populated that there is room for many diverse Haunt experiences and I think each of the major and minor players all do a wonderful job. Clearly the one huge difference between “Dark Harbor” and other Halloween events is the location – You cannot beat the Queen Mary in terms of a setting for such an event. Additionally, the footprint for “Dark Harbor” is really well-conceived so there is virtually nowhere for the guest to wander without feeling fully-immersed in our “world”.

JJW: Wally is right on here! How lucky are we to set this terrifying event aboard one of the most haunted attractions in the world! The Queen Mary is truly what makes this event so special! Can’t beat it!

13. How has the event changed over the years in terms of what you’ve wanted to accomplish, and what’s next on the agenda?

DW: My biggest mandate each year has been to improve the quality and quantity of the Monsters and to compel the producers to continue adding more programming. Fortunately, we have all been on the same page in knowing that our loyal fans desire both consistency and freshness in our programming. This year, JJ’s team has created exciting new experiences all throughout the event. And this year, we added 30% new Monsters and had – by far – the biggest turnout to auditions yet. The level of talent involved this year is simply extraordinary. Our guests are in for an amazing event in 2012.

JJW: Coming into this year, I really wanted three things - to explore how we could use the haunted stories of The Queen Mary, to add a new maze, and to change up the existing mazes for returning scare seekers. I think these scare seekers are going to be pleasantly terrified! Next on the agenda? I have to plead the 5^th here . . . starting this week, we have some special surprises that will be unveiled, keep your eyes and ears peeled for what’s next tome come!

Awesome. Now you know what you should be doing this weekend! Get over to The Queen Mary-Dark Harbor! Have a great time, party hard, and get scared to death. Don't mind that sinking feeling that will take you over...it's just your soul on its way down...

Other Horrific Musings:

Just Another Fright at the Park: Universal Halloween Horror Nights ...

Shriekfest 2012 Denise Gossett Interview and Weekend Review

13 Question Marks of Horror: Wrong Turn 2 's Matthew Currie Holmes

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:08:00 +0000

I met Matthew at the New Beverly screening of Nightbreed: The Cabal Cut back in July. Not only is he a great actor in films like Wrong Turn 2, Hangman and The Fog, but he's also a horror fanatic who has appeared on some of TV's most interesting horror shows like The Twilight Zone, Wolf Lake, Dark Angel, and The Dead Zone. I recently caught up with him and invited him to kick off "The 13 Question Marks of Horror". Enjoy.

1. You’re a horror guy through and through. What was the first horror experience you had that solidified your love of the genre?

There are so many great ‘horror’ experiences… I think the VERY FIRST was when my aunt took me to see Jaws in the theater when I was 4. I came home and went on and on about how scary it was; yet I wasn’t really scared, I was just really jazzed. Needless to say my mother was not impressed.

My dad and I used to watch the Universal Monster Movies on TV every Sunday afternoon. I was really into monsters at a young age… the final nail in the horror coffin, however, came when I watched a terror marathon on Cable. I was 11 years old the movies were: Wolfen, John Carpenters: The Thing, and Alien. I was terrified for weeks and loved every second.

2. You’ve done a lot of horror related Television work over the years as well as Features. Do you have a preference and why?

I will always prefer features to television. There’s something so satisfying with a solid three-act structure. It says beginning middle and END!

3. Wrong Turn 2 was a strong follow up. Were you a fan of the original and what was it like filming the sequel?

Aside from that AMAZING chase scene in the trees, I really didn’t like Wrong Turn at all. The sequel was a great filming experience. Joe Lynch is a fantastic director and a real horror fan. He added so many cool things to the script, things that only ardent horror fans would get. I liked that experience quite a bit.

4. Actors always talk about how scary the movie was to make. Did you ever get creeped out on set?

No. With Wrong Turn 2 we are all having so much fun that it wasn’t scary. When it came time for my big emotional death scene, I removed myself from the frivolity and did the work I needed to do to get into the headspace in order to convey the terror. But most of the time I’m like a kid at a candy story, I LOVE making movies and still think the process and outcome are magical.

5. You did the film Hangman about two vets caught in a horrific game with their lives in the balance. Do you find you’re more of a fan of creature features or of real world horror?

Creature features, definitely. There is so much ugliness in the world, so many fucked up people doing fucked up shit… I view movies as an escape, especially horror films. The last thing I want to watch is some torture porn.

Being a father has also made me sensitive to the horrible shit out there. Don’t get me wrong, I love watching people get torn limb from limb and I love hearing the screams of the victims as the hatchet falls down… but I have to be entertained first and foremost and while I don’t find a hockey mask wearing predator particularly frightening, I do find it entertaining. It’s all in the (pardon the pun) execution, I suppose and I think many filmmakers have taught us you can easily do both.

Reversely, there are great films out there like Martyrs that show ‘torture’ can exist for the greater good of the film! If you entertain or subvert me… I’m IN! Otherwise its just masturbation and I’m not interested.

6. Is there an actor whose work inspires you, not just in your day to day, but when you’re in character as well?

There are many actors who inspire me… I like watching actors who listen and respond. I like actors like AJ Bowen or Gary Oldman. They have a command of their faculties and whenever they are on screen I automatically see a fully realized character.

For me acting is a craft I respect greatly. It’s one thing to just hit your mark and bark, it’s quite another to understand that there are many tools in a toolbox. Gray Oldman is someone who can just freak the fuck out in Harry Potter and then just shut it down completely and be so captivating just by reacting in Tinker, Tailor, Soldier, Spy; that is a command of your facilities and an ability to know which tool is needed for which job.

Watch AJ Bowen in A Horrible Way To Die. It’s not a particularly great film but his performance is so compelling, so thoughtful… so inspiring. You can see that there is a fully realized character lurking behind his eyes. We never really know what makes him tick, but we know that HE KNOWS and that’s fascinating when an actor can convey history and motive without words. I think AJ is definitely an actor to watch.

7. You’re currently in pre-production on your directorial debut “P5Ych”. Can you tell me about it?

P5YCH is a slasher film that takes place in 1984. It revolves around the 5 survivors whose real life stories loosely influenced 5 scary slasher films. They enter into experimental psychokinetic treatment for PTSD and, when people start dying they are not sure what’s real or not and are forced to survive again… It’s basically Inception meets Friday the 13^th.

Check out the website: www.canthe5survive.com you can see the short film I shot that more or less explains what you can expect from the film! We’ve also the P5YCH Development Fund Campaign. Much like Kickstarter only it’s ongoing and we’re offering incentives directly from the website! Developing films cost a lot of money; every penny raised goes into the development of P5YCH. More importantly, though is the branding/awareness factor. While I’d love to reach our $10,000 development goal, my ultimate goal is awareness. I would love to see 1000 horror fans wearing 1000 P5YCH t-shirts. Check out the incentives page HERE

8. Was your ultimate goal to get behind the camera, or is it something that evolved over time?

I’ve always wanted to make movies, never sure how that would manifest. I started acting and writing after my music career didn’t pan out, I started producing when the writer’s strike hit and sort of killed my acting career and I started directing once I realized that I could get further traction with P5YCH if I was behind the camera. Basically, I’m motivated by the completion of the project… whatever it is. If there’s anything I can’t stand it’s a half eaten sandwich and languishing film project.

I’ve written or co-written over 20 features, four of which are in various stages of development including our fun/scary vampire flick called Self Storage which we are actually producing simultaneously with P5YCH. I can’t stop working until something hits and I’m not about to stand in my own way. In order for me to make P5YCH or Self Storage a reality, I have to do EVERYTHING I can to make it work. I cannot ever give myself an excuse to fail and will take whatever role I need to make my dream come true.

That’s a long answer; the short answer is YES I’ve always known I’d end up directing and producing films.

9. The hardest thing for any film maker to do is getting financing. What advice do you have for upstart film makers?

Don’t give up! Financing is without a doubt the toughest part about getting your movie made. The best thing you can do is make sure that you have EVERYTHING in place and be ready to do the work. Make sure that script is PERFECT. Make sure your producer is ready with the tough questions, learn about tax credits, incentives etc. When you’re asking for millions of dollars learn how to mitigate risk to make your project even more compelling to an investor.

Most of the time money people just want to get into the movie business to brag about making a movie, if you can tap into that then make sure your project and your pitch is brilliant. Our strategy involves making P5YCH and Self Storage back-to-back and pitching investors that making two films together is not only less cost prohibitive but the returns are infinitely greater.

10. You snagged David Hayter for the film. Do you have a dream cast in mind, or is it the best actor for the job?

Yeah David’s a good friend of mine, we wrote a movie together that is currently in development called Demonology. I’m actually flying to Toronto to act in his directorial debut Wolves.

As far as a dream cast, yeah I have some choices but it ultimately depends on whom financiers like. Like it or not, when you’re pitching a movie the first thing people ask is “Who is in it?” Because P5YCH is my first project I can’t be too precious who’s in it, I know that when we cast we’re casting professionals and I speak ‘actor’ so it should be fun. That being said, P5YCH is a low budget ($4 Million) horror film that’s not really cast dependent. So if we get one or two ‘names’ we’ll be good and I can cast people I know will be BRILLIANT in the roles.

11. You’re originally from Canada. Is there a difference in the horror culture between there and here?

Canada has Cronenberg ‘nuff said!

I think Canadian horror culture is similar to American horror culture; one of the first slasher films ever made (Black Christmas) was a Canadian film. As was My Bloody Valentine and Prom Night.

I think the main difference is the cerebral element in Canadian horror, like with Cronenberg for example. There really isn’t an American horror filmmaker doing more cerebral horror, whereas in Canada that’s a go-to with movies like Pin and Ginger Snaps. But then America has Freddy and Jason, and they are ICONS. So, it all evens out!

12. We’ve all had a crush on a horror Icon at one time in our lives. Whose poster was on your wall and did you ever meet them?

I used to collect Gore Zone Magazine when I was 13. Every issue had a gory centerfold. I remember the first horror poster I put on my wall was of Bill Paxton all crispy and covered in blood as Severn from the brilliant vampire flick Near Dark. I’ve yet to meet Mr. Paxton but am dying to tell him he was the first to adorn my wall. May more followed!

13. Do you plan on continuing in the horror genre, or would you like to branch out and write other types of films?

I love horror films. I do write other genres. I have a Drama/Comedy script in the vein of Judd Apatow called …john hughes died today currently in development up in Canada as well as a superhero/stoner comedy. I definitely have many more horror projects than any other genre, P5YCH and Self Storage are just the tip of the terrifying iceberg. I do adore things that go bump in the night but in order to be a well-rounded filmmaker I believe you have to try your hand all genres. Ideally, I would love to graduate to badass action flicks like The Raid Redemption. One at a time!

Thanks to Matthew for taking the time. Look for Matthew popping up in a horror film near you and don't forget to check out and support P5YCH.

Other 13 Lists:

Music that you can die to: Top 13 Horror Soundtracks

Friday the 13th hotties: The sexy Celluloid Sinners

From Veronica Carlson to Barbara Steele: Top 13 European Horror Hotties

13 Question Marks of Horror with The Other Side 's Santoro Brothers

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:06:00 +0000

Alex and Oli Santoro are a directing team to be reckoned with. Their first feature "The Other Side" is technically a short, but plays so complete and is shot with such scope that it defies the format definition. Not only that, the their creation; Death Face is a thing of beauty. Though they are in the process of touring the film all over the world, they took a time out to chat about 13 question marks of horror...

1. You obviously have a love for horror. What was the first horror film that really got under your skin?

We’ve been watching horror films since we were very young. Since about 2 or 3. The stuff we were seeing perhaps shouldn’t have been seen by kids so young but… I guess it worked out for the best. There are a few movies that I recall as having some kind of impact on my life. It’s always too hard to name just one. Child’s Play, American Werewolf in London, The Candyman, The Exorcist & Halloween were our favorites. These films have certainty had a sub conscious effect on our psyche.

(Alex) For me it’s not about a movie getting under my skin, I am very rarely scared by a film (if ever) I just really love it when other people get scared around me! I kind of get a buzz off of them. My brother and I were always dressing up and trying to scare the hell out of people.

I remember in school once when I was extremely young, the teacher asked me what I wanted to be when I grew up and I said ‘a murderer’. Unfortunately I never lived up to my potential and had to settle for killing people on screen rather than in real life. Similarly, my brother always wanted to be a vampire and once asked my parents for a coffin for Christmas! Haha.

2. You are based in the UK, so I’ve gotta ask, who did it better, Classic Universal or Hammer Films?

(Alex) It’s a toughie but I’d have to go with Universal. Personnel favorites are Frankenstein & The Wolf Man. Although, I’m a massive Christopher Lee fan so it’s close. That said, we would love the chance to work with him!

3. How did you get into working in film production?

(Oli) I left school at 15 without any qualifications or degrees. Alex has both but I don’t think they have come in handy at all! Film is an industry where experience is key. Also it’s all about who you know sadly rather than what you know. So at times it’s been a struggle but The OTHER SIDE is a good example of the good times. We’ve both done our fair share of running around film sets like headless chickens but the experiences we gained have proved invaluable.

4. When it came down to jumping behind the camera, how did you choose your subject?

It was always going to be horror. We came up with the idea for The Other Side a few years ago. The story just organically evolved over time. Being our first narrative film project, we didn’t set ourselves any restrictions whilst generating ideas. We wanted car crashes and people being thrown into walls etc. But when it came to making it, we were like, ‘how the hell are we going to get this made!’. We knew that we had given ourselves an uphill task and written an incredibly ambitious short project. We did everything in our power not to compromise too much and hopefully stayed true to our original intentions and vision.

5. The hardest thing to come up with is creating a memorable killer. How did you come up with Death Face?

(Oli) We always envisioned having a killer crying. Black tears running down a white, rotten, torn and tattered mask provided the perfect contrast. We also wanted someone huge, a towering figure, a monster of a man with straggly hair! We tried to make Death Face into a ‘super slasher icon’.

6. You’ve spoken about possibly expanding the film into a feature. Is what we’ve seen the beginning or would you fill out the events in fuller detail?

Oh we need to go much deeper. The original script was a lot longer. It came out at around 30 pages. The shooting script was 15. So we already have a lot down on paper. Also the original ending was much more Hollywood that the one we went for. We were forced into a few decisions mainly due to budgetary constraints.

7. Do you have a full mythology to be explored in the future?

We already have the complete story for ‘The OTHER SIDE’ feature and if anyone came to us and said they were interested in making it, then we would definitely entertain the possibility!

8. This is possibly the most engrossing short that I’ve ever seen. It actually plays like a pilot. Was the film completely storyboarded?

Thank you. Yes. I must give a special thanks to Lianna Wield (our artist), she really helped us out. We had a storyboard of over 500 shots. We loved every single one of those shots. We only managed to get around 150 so thankfully whilst you claim it to be engrossing, you can only imagine what we could have produced if we managed to get all our shots. That was one of the hardest things, selecting the right shots to make a potential mini feature in to a powerful short. When we sat down with our 1^st AD Joe Geary and DOP Wedigo von Schultzendorff they thought we were crazy but admired our spirits. Sadly, we had to cut down on the day. Honestly I cried over every lost shot! I literally just got over it, thanks for bringing up bad memories! Haha.

9. The biggest mistake that new film makers make is treating their Cinematographer like an afterthought. The Other Side looks great. Was your D.P. involved from the very beginning?

When we got to the nitty gritty part of pre production, we were very insistent on having an experienced DOP as we were fully aware whilst working on other projects the importance that this role could bring. We really wanted someone special and we saw ‘Pandorum’ in the cinema a few years earlier and thought it looked phenomenal. He remained in our minds and we sent him the script, he read it three times before he even got back to us. He knew it was an ambitious project with some young guys at the start of their journey and was excited. Wedigo remains a close friend today and we shared something very special with him. He’s an incredible guy and I feel very grateful just having the opportunity to work alongside him. A true professional and incredibly passionate about filmmaking. He graciously came down a week early and gave us his time for free. He spent one week at our house going over each scene and shot meticulously. Wedigo is the king.

10. Not only is the look of the film spot on, but the actors turn in such complete performances. Was the dialogue set in stone or did you allow improving?

We will always allow for improving. If someone makes the scene better then we are all for it. The dialogue will never be set in stone with us. The film is a collaboration of every person we came in contact with, especially the actors who were at the forefront of the project. An actor has to feel comfortable saying his line otherwise it just won’t feel right. We had a circle of action etc but we employed the actors to do a job and we tried to leave them to it as much as we could. We had full faith and trust that they would do a fantastic job and they didn’t disappoint.

11. You’ve put so much into the film including the poster. Since horror posters today are less than inspiring, did you have a specific idea in mind for how you wanted the film represented?

Yes. We wanted something different. Something with a classic feel. Graham Humphreys is a legendary British artist and we knew he was exactly the right person to pull off that kind of old style movie poster. His work speaks for itself.

12. Over the past couple of years, we’ve seen our slasher icons like Freddy Kruger and Jason Voorhees, stumble. Do you think it’s time for a changing of the guard?

Yes please. I think they need to go back to basics. It’s so why so many horror films fall down today. They need to go much darker. The number one rule is you have to be a fan! And please just stop selling out!

13. You and horror seem like such a natural fit, do you plan on continuing or do you want to explore other genres in the future?

Our next film that we are writing at this present moment in time is a classic British horror / thriller. I’m very excited about it! I can’t say too much but it’s called The Practice (working title) and we are about half way through the script. We are writing it with our cousin and best friend Ben Scott, an extension of The Santoro Brothers, so much so that we were considering changing the name to ‘The Santoro Triplets’. He also wrote The OTHER SIDE. An incredible talent and in all seriousness we feel very fortunate having someone this good apart of our team.

In our minds, Thrillers and Science Fiction films run very closely behind. But for us horror holds a great sense of nostalgia and will always remain close to our heart. It’s the only genre where it really feels like a ride at an amusement park. And hopefully people will enjoy our future rides.

Other Horrific Musings:

A blade in the dark: The Other Side (2012)

The Slasher Reborn: Behind the Mask: The Rise of Leslie Vernon

A lot of unhappy endings: MALEVOLENCE (2004)

13 Question Marks of Horror: Bloody-Disgusting's Brad Miska

13 Question Marks of Horror: The Hard Cut Director Vince D'Amato

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 17:05:00 +0000

Vince D'Amato is a Film maker originally out of Canada. His production company, Creepy Six Films, has been growing constantly into a force to be reckoned with on the independent scene. I spoke to Vince recently about his Films, his future, and the special brand of sinful celluloid that he delivers to the masses.

1. You are a master of Horror and Exploitation. Do you remember the films that first got you into those genres?

Yes, absolutely. When I was a kid it was almost as much the lurid VHS covers in the horror section of the video store in the local mall as it was the films themselves. But when I was a kid, without a doubt, Friday the 13^th, The Howling, Halloween, The Thing, House, and Creepshow. As I got older, I got really into Stephen King and Clive Barker, and soon after that, it was films like Re-Animator, Big Trouble in Little China, They Live, The Hills Have Eyes, Evil Dead, all of the Goerge Romero films up to that point (by now we're talking 1994/1995), David Cronenberg, Dario Argento (what I could get me hands on at that time, anyway).

2. Your first film was “Corpse O Rama”. How did you choose that as your first project?

Actually, that was the second project we chose, after a failed attempt to shoot a feature a year earlier. Not having another feature film script I was confident in shooting on a really low budget, we came up with a handful of stories and shot an anthology. Most people haven't seen this movie, we released it ourselves on VHS in Vancouver, that was around the year 2000, if I remember correctly. We only printed 50 VHS copies – and I think I still have 4 of them somewhere... probably lurking in the basement.

3. Tell me about that first shoot; was it everything you thought it would be?

The first shoot was amazing, because we didn't know what it would be like- we had no expectations, other than we wanted to capture our script onto film. And yes, we shot it on 16mm, like the first few films we made. I still remember the high we were all on – at that time, Creepy Six Films was Nicole Hancock, Peter Speers, Damien Foisy, and myself – when we celebrated with the cast and crew at the wrap party. Our first wrap party, but not the last.

4. Your first film is a tricky thing. Some people will always hate your first film while others will feel it’s the only good thing you ever did. What has the reaction been to your films?

Well, technically speaking, Vampires Vs. Zombies (or Carmilla, as it was originally called), was our first widely distributed film. For all intents and purposes, that was Creepy Six Films' first one. Worldwide sales and exposure were through the roof – but everyone (well, a lot of people, anyway), didn't like it because there really was no vampires vs. zombies in the film! That was what The Asylum, our distributor at that time, decided to re-name the movie to boost sales and interest. And it did work, that's for sure. But it really was a bit of a mis-lead.

5. You mix up your Feature work with Series. Which format do you gravitate toward and why?

Actually, for me, it's the story that dictates the format.

6.“Human Nature” was the first film of yours that I came across at Hollywood Video. I always scroll down to the director to see who’s new on the scene. Do you remember the moment when you stepped back and said “Wow, people are seeing my work”?

Absolutely, it was when all the angry video-renters Emailed in about the misleading Vampires vs. Zombies title. But you know, at the end of the day, The Asylum did get us a large audience both with that film and with Human Nature, so what can I say about that?

7. I know a lot has gone into “The Hard Cut”. What’s it about?

The Hard Cut was actually two films that were shot back-to-back, and then later cut into a single film. The first story is about a detective, Roddy Tillinghast, who is hired to find a missing film - “Catholic Cheerleaders for Satan”. During the story he's kidnapped by two gangsters named Rocky and Alex. The second film, which was titled “I Woke Up Screaming the Day I Died”, is actually all of the events and timeframe of The Hard Cut as seen through Rocky and Alex's point of view. So you get two sides of the story. Anyway, the finished film is now “The Hard Cut Double/Feature”. It took over two years to edit together, but we never had to re-shoot anything.

8. You know I’m a huge fan of “Catholic Cheerleaders for Satan”. What was the genesis of that kick ass throwback?

That was the film-within-the-film in “The Hard Cut” story. There's more of those gals to be seen in the latter film, too. Originally we'd only shot a few minor scenes (Shots, really), to cut throughout The Hard Cut movie – but about a year into post-production, we all decided it would be pretty awesome to go and actually shoot that film in its entirety.

9. Does it fit in with the mythology of “The Hard Cut” and if so, how?

It does fit in, but I wouldn't say much more about it than I already have.

10. Last year you started a second production company, Brivido Giallo. How does this company differ from Creepy Six?

Brivido Giallo was started in London, UK, after my wife and I moved there in 2011. It was set up to produce micro-budgeted features in Europe.

11. The first film to come out of it is “Reversed”. What can you tell me about it?

“Reversed” was hugely inspired by the Italian Gaillo, the genre Argento has done most of his work within. I have had a huge affinity for this genre for years now, and I felt that if I ever had a decent enough idea for a giallo, I'd have to shoot it in Europe. Part of the attraction of these films are the locations, the actors, everything that's over on the side of the water. “Reversed” is what I'd tag as a neo-giallo. At first I though I'd come up with the term, but I've since seen it around the internet describing films like “Amer”, which I thought was brilliant. “Reversed” is about a woman who goes on a killing spree. There is absolutely no dialog in the film at all, and the scenes are played out in reverse order.

12. You’ve done a lot of work over the past 10 years. Do you have a project that you’re most proud of?

Hell Hath No Fury, The Hard Cut Double/Feature, and Reversed.

13. You’re setting up shop all around the world. What’s next for Vince D’Amato?

I was just talking to our producer Rob Carpenter about possibly doing another horror/sci-fi anthology (a la Hell Hath No Fury) with three directors, and I'm going to be writing the next Creepy Six feature film this September, to be shot in Vancouver in the summer of 2013. The Hard Cut and Hell Hath No Fury Blu-rays should be out for the end of January, to coincide with the Shivers Film Festival launching in Vancouver that month. But that's a whole other story.... you can check out http://theycamefromwithin.com

Thanks for all the questions!

Very truly,

Vince.

Other Horrific Musings:

Gimme a K.I.L.L.: Catholic Cheerleaders for Satan (2011)

Bikers vs. Bigfoot! Dear God No! (2011)

13 Question Marks of Horror with The Other Side & Human Centipede 2 's Makeup Artist Nicole Nicolaou

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 16:47:00 +0000

Nicole Nicolaou is one serious artist. From Human Centipede 2 to X-Men First Class, she has run the gamut of feature work in a short amount of time. Recently she completed work on the Santoro Brother's hot short feature; The Other Side, and spoke to Sinful Celluloid about her career in horror...

1. What movie or memory really shaped your love of horror?

Child's Play and the Halloween films were the horrors I grew up with and from that young age I was always fascinated with the special effects, often creating my own gory scenes with my brother in my bathroom, much to the horror of my mother!

2. Most of us start off doing whatever we can just to get on set. What was the first project you remember working on?

Well through my teenage years I studied Media Makeup at various different colleges, helping out on a variety of fashion shows/ catwalks (mostly at different colleges or schools), school plays etc. Then I went to University of Hertfordshire and studied Character Creation and Special Effects, where I had the most amazing 3 years of my life but felt like I learnt minimal! During my 2^nd year I had my work experience module and I was very, very fortunate to land a placement with John Schoonraad, Creative Director of Lifecast at Elstree Studios. It is here where I worked on my very first film The Human Centipede the Final Sequence.

3. How did you get into prosthetics effects?

After a few years studying Art and Makeup courses I found my passion in the two combined, sculpting, painting and the applying of makeup, so what better course to take than a Special Effects course!

4. Tell me about the Human Centipede 2 shoot. What was the atmosphere like?

The Human Centipede 2 was my first ever real budget shoot; it was a small cast & crew and the location was very fitting for the nature of the film. Everyone was amazing and although it was a disturbing film and the cast were naked in the freezing cold half the time, it was a bundle of laughs and I will always cherish my first real experience on a film. Just a little story, I was known as the ‘ball watcher’ on set as when the male cast were laying down about to shoot I was on the look out to make sure their balls were tucked away!!!

5. Many people find the film upsetting. Did you find the subject matter difficult or was it easy to divorce yourself since you see it through different eyes?

I found it very easy to remove myself from the film as I have grown up watching many films alike, maybe even worse, I watch films now and think ‘how can I make that violent scene look better?’. I admire directors/writers who come up with even more disturbing, frightening ideas to upset and scare the audience isn’t this reason why we work in the horror genre?

6. In a short amount of time you have been blessed to work on small independent feature and mega budget films. Is there a difference in your department and which do you prefer?

I have to say when I am working on a film I like to be a big fish in a small pond! You have more input and I like to be in charge so for this reason working on the Santoro Brothers short ‘The Other Side’ was my favorite.

7. There seems to be a bit of distain among practical make up and special effects arts when it comes to CGI. Rightfully so. Do you ever feel that CGI is the way to go, even when it comes to effects that you can achieve organically?

No! haha, as a Makeup Artist I would obviously have to say that the effects you can achieve with makeup is so raw and it feels real, not only to the audience but the cast member, allowing them to fully get in to character and enhancing there acting. CGI is amazing and I know that it will only get bigger and better, but there will always be a use for us makeup artists, at least I hope otherwise I’m out of a job and it will be a shame for the next generation of creative, artistic people wanting to create masterpieces on the flesh rather than on a computer.

8. You've recently completed the short "The Other Side" with Directors Alex and Oli Santoro. What is this film about?

I’ m terrible at explaining stuff and I don’t want to dampen the story, so here’s a brief synopsis;

When a fresh faced nanny arrives at her new job on a creaky farm in the English countryside, she is instantly caught up in the turbulent relationship of her employers. James is struggling to provide for his family and Rachel, an inexperienced mother, is unable to cope with the demands of her new born baby. Unaware of his wife’s decision to hire help, a disgruntled James leaves them alone in the secluded farmhouse. When night falls and he fails to return, a sinister intruder invades the property, unraveling a night of gruesome blood-shed and unprecedented terror. But who is behind it? What do they want? Can anybody escape alive?

9. A horror film really relies on all aspects of presentation. I believe this starts with the poster, which is wicked sinful! Who is the artist?

Grahame Humpreys was the designer of the poster. I hear he is one of the best.

10. You stepped up to supervise the Make-up department on this film. Did you find it hard to change hats and not get into the thick of things?

I was make up supervisor but I was also the head makeup artist so actually I had an even harder job doing both but the harder the better and that’s the best kind of experience, especially if you want to make it in the film industry.

11. There is talk that if the film does well, it may have additional shooting to expand the film to feature length. Would you be interested in continuing with the films journey?

I would love to work with the Santoro Brothers again, they are truly amazing. Oliver Santoro is one of the most creative individuals I have ever met, often ringing myself or other crew members at 2am with crazy requests like ; ‘I think we need more black on Death Face’s jacket?’ then we would be up fixing the coat before we were on set the following day. He went with the flow though on set allowing people to put in their ideas. Alex Santoro on the other hand was very direct with the crew, he had his vision and wanted to go with it, but when it came to the actors he was very organic and trusting allowing them to feel comfortable in their roles and playing them how they felt best, for example, Jennie Jacques (Sophie) made a whole back story on her character which Alex absolutely loved.

12. Do you hope to get into writing and directing in the future?

I must say I have no desire to get in to writing or directing, maybe I would like to get in to casting one day as I feel I have a good eye for spotting upcoming actors.

13. You know that in our business things don't always go as planned. Do you have any on set horror stories to share?

The re-shoot for The Other Side was very low budget, I had been asked to come down and do multiple jobs; hair and makeup, body double (for Sophie and Rachel) and runner. The filming started at 4pm and finished at 3am, bear in mind that there was no heating in the house, we had rain machines and it was the middle of winter. After the 11 hour shoot I had to stay behind and help clean up the set for 3 HOURS!!! Now that is a horror story, for me at least. The only good thing was we had Dominos pizza and loads of sweets and snacks which I took home at the end as more payment!! I managed to put the jelly beans on Ebay, I’ m still waiting for a bid!

Other Horrific Musings:

13 Question Marks of Horror with The Other Side 's Santoro Brothers

First Details on Human Centipede 3!

A blade in the dark: The Other Side (2012)

13 Question Marks of Horror: Bloody-Disgusting's Brad Miska

noreply@blogger.com (Sinful) — Fri, 26 Oct 2012 16:45:00 +0000

I grew up on Fangoria like every kid in America. When the internet came into play (yes kids, there was life before "the web"), a whole new world of horror culture opened up and we had choices. One of the first and arguably the best is Bloody-Disgusting. Brad Miska, Mr. Disgusting himself, recently spoke to Sinful Celluloid about all things horror, V/H/S/, and a certain never ending string of promos...

1. For guys like us, horror is usually something that takes hold early on. What was the event or film that first introduced you to horror?

I was always obsessed with “Tales from the Crypt” and the Child’s Play films. Although, I didn’t really obsess over it until I saw films like Halloween, In the Mouth of Madness, Army of Darkness over the course of a few months. It quickly became, “what next?”

2. You’ve been breaking new ground in horror for years. What made you want to tackle the anthology film, which is considered by most, a non-commercial format?

It was originally an idea for a TV series that The Collective got behind as a feature film idea. I’m a big fan of Found Footage films; I just don’t like the execution. If you’re going to do something – do it right. Most Found Footage films are attempting to cash in on the crash, our perspective was to ensure we did it correctly, such as have a reason for the camera to be recording. Working with directors that I believed in is what pushed it over the edge, in my opinion.

3. With a few notable exceptions, the “Found Footage” genre has been over-saturated. Did you have any reservations about going this route or did you just know that you could make it work?

Found Footage is just a perspective. I don’t think it’s a gimmick like 3-D is. I have no real issues with it other than when a character constantly references the camera like in Chronicle. Friday the 13^th is basically a first-person perspective film, there’s just no camera recording.

4. This film had me up all night and I’ve seen almost everything. Were there other terrifying stories that were set aside for a sequel?

Not really, and honestly, the process was sort of chaotic. It was highly experimental as we added filmmakers and shoots as we moved along. Nothing was set in stone and nothing was projected from the beginning. All we had was Adam and Simon’s wrap around to work from. So, everything that was filmed was filmed specifically for the movie.

5. When gearing up for the film, was there any director you went after that wasn’t available?

Yeah, it was a while ago, but there are two I remember: one was JT Petty, who couldn’t because he was working on Hellbenders, and the other was Larry Fessenden, an extremely talented writer-actor-producer-director. I LOVE both of these guys and would have died to have them part of the first film. It’s sort of a horror fan’s wet dream to be able to talk with all of these genre talents.

6. If you do a sequel, are there any characters you would like to see return?

The interesting thing about V/H/S is that the mythology is wide open. Because you’re watching a VHS mix tape, the viewer has no idea who created it. We can go anywhere. That would be sweet.

7. You started Bloody-Disgusting around 10 years ago; what was your original goal when you started tapping the keyboard and have you achieved it?

Fun - plain and simple. I started the site with Tom Owen, who exec produced the film, who just wanted to work on web design. I knew everything about upcoming horror, so we collaborated. It was just friends having fun and spiraled out of control (literally, because the server bills were INSANE. People don’t understand that WE paid to host the site for years.) The only goal was fun, we had no idea it could become a career. I wanted to do advertising.

8. Around 2003 or so, there were a lot of “TV Teeny-Bopper Queens” showing up in horror because it was hip again. They wouldn’t talk to a lot of horror press and would bad mouth the genre in the mainstream rags. But the funny thing is they kept doing horror. What’s your take on that?

I’ll give you a great story that I’ve never publicly talked about. Back in 2003 Warner Bros. had us to their junket for Gothika in Los Angeles. It was the first “real” thing we ever did, and it was kind of scary. When we arrived to check into the hotel they denied us entry because “Halle Berry is afraid of your website, and you.” True story. I think that sort of sums up your question.

9. I’ve been running my site for almost two years now and it’s an all day, every day thing. When you started the website, did you have a team or was it a one man show?

I’ve been the only person to really do the news until we branched out and created the sections. It’s always been fun for me, so I just did it. I went to school, worked 2 jobs at the same time, and still maintained the site. I used to be able to update in the morning and at night, but now, it’s a fucking nightmare. It’s really hard to have fun when you’re posting about 15 American Horror Story teasers and a bunch of TV show pilots that never get picked up. I wish we could just report on what we wanted, but that’s not what we established ourselves as. I just got to roll with it and try and stay sane lol.

10. The film industry is its own weird animal. When you first got your foot in the industry door with Bloody-Disgusting Select, did you feel a sort of culture shock?

Actually, I must be mentally ill or something, I didn’t really care much. The site has always been my baby, and all that matters to me is that we keep our ethics and integrity in check. So as long as I thought the movies we released were good, I was happy. I refused to put my name on something I think sucks ass. I’d turn down a million bucks in a heartbeat.

11. Horror fans can be a bit unfair when it comes to a sequel or remake. What is your favorite unjustly hated horror film?

Oh man, that’s a hard question. I’d need to scroll through our history to remember. My brain is fried from constantly having to report on American Horror Story. I think genre fans are pretty in tune… see the Dawn of the Dead remake. Everyone was ready to destroy it, but in the end everyone pretty much agreed it was amazing. It proved that remakes could be good.

12. I love 1970’s Euro horror; Mod girls running around castles being sexed up and hunted by undead, great visuals… What’s your favorite sub-genre?

The Legend of Hell House is my favorite horror movie. My favorite subgenre changes every few years. First it was splatter, then zombies, then black and white, then Universal Monsters, then J-horror (before it was hot; there’s a feature somewhere on the site where I introduced readers to all region players and the films they should get). Right now I’m sort of stuck in 1980s mode. I miss having FUN at the movies, and in the ‘80s all they cared about was making a fast-paced, energetic film.

13. If you did another anthology format film, do you hope to get behind the camera yourself and direct?

I would never direct. I recognize that’s not a talent of mine. Producing just allows me to hang out with friends, and watch talented people blow my mind on a daily basis. At the end of the day, being happy with what I do is the most important thing.

Other Horrific Musings:

13 Question Marks of Horror: Wrong Turn 2 's Matthew Currie Holmes

13 Question Marks of Horror: The Hard Cut Director Vince D'Amato