I haven't been getting a lot of sleep as of lately. Truth is I am trying my hardest to not drink so much even if it is part of my road to recovery from pain killers and black tar heroine. Now as part of my on going physical therapy my doctor Sleazy Pete behind the now defunct Dollar Hut has recommended that I listen to soothing music and immerse myself in bath salts and oils...........
FUCK THAT NOISE !!!! So I've picked up both the bottle and needle once again and have decided to listen to some good ole fashioned BEATS MOTHERFUCKER !!! I think I may have found just the man who is both outlandish enough and groovy enough to make me shake my hips but not shake my needle. DJ VON U KUF baby !!!
Here is a little info about the man himself courtesy of my good friend James Cullen
Von U-KUF started out playing drums as a child, Thus began his love for
HARD HITTING BEATS, and Von U-KUF found inspiration in House Music. From
the moment he got behind his first mixing board, Von U-KUF knew that he
was destined to become one of the great Electro/Progressive House DJs
of our time.
Over the last several years, Von U-KUF has honed his
skills on the decks. Von U-KUF prides himself on his unique style. He
is obsessed by always adding new releases, and crowds that follow Von
U-KUF know that he never plays the same set twice. Working with DJs from
around the world, Von U-KUF receives tracks that are not available to
anyone else. Anything can happen when he gets up to spin because the
crowd dictates the action.
Even with the element of change, Von
U-KUF always delivers “A HARD BANGING, FLOOR SHAKING SOUND.” He is a DJ
unwilling to compromise his craft. Von has an uncanny ability to watch
what the crowd moves to and sense what makes them crazy.
Von
remains a student of his craft. “I am always willing to share deck time
with another DJ. I believe in giving respect to the creators of this
industry. I watch and learn from every DJ I have seen.”
Below you can sample some of his badass music and move to his outrageous beats:
Usually this is the point of where I make some sort of offensive of color joke about aids or a minority but today I think I shall refrain from my usual banter because I am in the presence of grace and extreme talent. Yours truly had the pleasure as of recently of sitting down with indie horror goddess Alan Rowe Kelly of I"LL BURY YOU TOMORROW and THE BLOODSHED fame and I can't tell you enough time what a genuine and nice person Mr. Rowe Kelly is. Below you can read the interview and I suggest this time you little fuckers really read this. Alan really knows what he is talking about and has a genuine love for sleazy films and just the art of film production in general. ENJOY !!!
Have you always had a love for obscure cinema or fringe entertainment as I call it ? What are some of your early influences?
Oh yes!! The weirder the better. My early influences were always
B-Movies, in horror, sci-fi and drama. I always seemed to embrace their
feel more. They seemed more attainable in their simplicity- which I learned later was simply a low-budget.
You have an amazing eye for film composition. Did You attend Film School or was it all self taught?
I was completely self-taught. I had many years experience behind the
scenes as a make up artist and stylist for commercials, TV and fashion
shoots. I received the very best education by watching some of the most
talented people at work; directors, producers, cameraman, photographers,
grips, art directors, lighting technicians, sound men, models and
actors. Everyone’s job was of equal importance and the goal was time
management to bring the project in on time and on budget. Through art
directors and photographers I learned how important it was to fill a
frame, create a gorgeous picture and set a stylized mood for the viewer.
I thought being a stylist was what I would be doing for the rest of my
life. But as I got into my early 30s, I started to see the writing on
the walls. I was on a set once in the early 90s doing hair for a famous
TV actress and they brought in a famous make up artist whom she
requested for make up. The artiste’ had been known for his innovated
style in the 70’s, but not much had evolved for him since his heyday.
So, with his lapdog Yorkie in tow, he took 2.5 hours to paint her face
lightly and literally left me 15 minutes to do her hair. He had to
‘perform’ because of who he was. Then in his 60’s, he was still known
for his name but the work was no longer there and it was evident that he
needed this gig and the cash just as much as I did. The parade has
passed him by. That is when I saw my possible future standing in front
of me - talking about the glory days of stars and fashion with no
concept of change and resting on the laurels of a past fame no one else
remembered. It actually frightened me and got my wheels spinning quickly
to “what else can I do?” The fashion and beauty industry can be a very
cruel business. So as the years passed I discovered a hidden talent for
writing and became more involved in productions doing wardrobe, script
supervising and working as a production assistant in any way I could.
Make up was still my mainstay, but I wanted to know about everything
that went on behind the scenes. I was taught well and I watched,
listened and absorbed from everyone on those sets. So when the
opportunity knocked to actually make a feature horror film, I grabbed at
the chance in hopes of making my hidden dream come true. I haven’t
stopped since. And I’m still always learning.
What are some " sleazy " films that you have loved that have also inspired you to make horror films?
It all depends on what you consider Sleaze. That can range anywhere from
Ed Wood to Andy Milligan (THE GHASTLY ONES) to Doris Wishman, Bunny
Yeager and John Waters. What some folk consider Sleaze, I would consider
Schlock, Exploitation or Grindhouse.
Basically everything under the ‘Something Weird’ label has a great
amount of sleaze content (which I love) from David F. Friedman’s ACID
EATERS, Herschell Gordon Lewis’ BLOOD FEAST & 2000 MANIACS (Also
produced by Friedman), Larry Buchanan’s COMMON LAW WIFE, The ‘MONDO’
film series, Joy Houck Jr’s NIGHT OF BLOODY HORROR, MA BARKER’S KILLER
BROOD, Richard Galbreath’s NIGHT OF EVIL, SHANTY TRAMP –
I could go on for pages with this one!
Who are some of you personal favorite " sleaze" directors of any genre that have inspired you to make films?
Al Adamsom always come to mind first! His films were very popular on the
Saturday double feature horror bill at the Drive-in when I was a young
kid. I always thought his leading lady/wife Regina Carroll was a sight
to behold! lol! Terrible but GREAT movies and she was terrible but
GREAT in them! Lol! I adore Russ Meyers. I consider him more of a cult
director though many categorize his storylines as sleazy. And I loved
Alan Ormsby’s CHILDREN SHOULDN’T PLAY WITH DEAD THINGS. It may not be
exactly sleaze, but there’s an underlying current there that really hit
home to me, especially in the dialogue and innuendo. And of course, John
Waters would have to be on top as far as leaving audiences agape! I
can’t get enough of his films and his amazing troupe of actors. Much
like Woody Allen, Waters directs his performers to act in a particular
style (probably because most of them couldn’t act), so there is
continuity and purposeful pacing throughout his films. I think he’s a
genius and he still makes me laugh out loud. Mink Stole’s opening scene
as the paranoid hysteric Peggy Gravel in DESPERATE LIVING is truly one
of the funniest damn things I’ve ever viewed!
Do you prefer straight up slow burn horror or " sleaze " films such
as those by Joe D' Amato , Jesus Franco , Doris Wishman, etc.
That’s a very hard call because I like both. I haven’t a favorite
sub-genre in horror- I love ‘A Pictures’ to ‘Grade Z Schlock’.
Doris Wishman films are a riot (Double Agent 73- my god!) - especially
her commentaries that have her croaking out insults between a good heavy
smoker’s cough! And movies like Thomas Casey’s SOMETIMES AUNT MARTHA
DOES DREADFUL THINGS, Nick Millards CRIMINALLY INSANE, Andy Warhol’s
HEAT, William Girdler’s ASYLUM OF SATAN, Michael Armstrong’s MARK OF
THE DEVIL (I still have the free vomit bag!) and Ted Post’s THE BABY
with my all time favorite, Ruth Roman.
On the other side of the scale I love films like Richard Wise’s THE
HAUNTING, Jack Clayton’s THE INNOCENTS, Curtis Harrington’s GAMES, and
Robert Aldrich’s HUSH, HUSH, SWEET CHARLOTTE that take their time and
really build on the viewer’s imagination.
Movies have filled my life as far back as I can remember. It seems like
they were always there for me to disappear into. It’s virtually
impossible for me to have a favorite because I have seen so very, very
many films and continue to watch them voraciously.
What was the last GREAT underground or sleaze film you recall seeing ?
Just watched Desperate Living the other night- laughed till I cried!
Edith Massey, Liz Renay and Susan Lowe- too much insane fun!
Any directors working currently in the genre that you admire a lot?
Bart Mastronardi and Anthony Sumner. I have been working and
collaborating with them for years. They just make filmmaking so painless
and easy. There is no stress, everyone knows their jobs, no egos
loosing control on set + a lot of laughs and boatloads of artistic
creativity. They LOVE and live for what they do. Most recently I worked
with Mike Watt and Amy Lynn Best on their film RAZOR DAYS - again, a
super smooth shoot that went off without a hitch! Other directors I’d
be very interested in working with are Eric Stanze, Mel House, Jeff
Dylan Graham, Richard Griffin, Justin Alvarez, Peaches Christ, Billy
Clift & Ivan Zuccon. These artists put so much energy and passion
into their work. You can see it in every frame and their actors rave
about them as directors and human beings. I would love to be in any of
their films! (HA! Talk about shameless self-campaigning!)
Can you tell me a little about your production companies Southpaw
Pictures and Tiny Core Pictures and some of the projects you maybe or
wish to be developing at both?
I developed SouthPaw Pictures in 2006 while doing THE BLOOD SHED because
I realized we needed an umbrella to work under, legally and
professionally. So far we have produced 3 features and co-produced quite
a few shorts for other production companies. TinyCore Pictures is
Anthony Sumner’s company in Chicago. We’re lucky enough to work on each
other’s projects because we share the same work ethic and think only of
the picture and it’s outcome. It doesn’t matter to either of us who has
the stronger picture at the moment or who’s name goes above the title.
Bottom line is we just love to work together and create.
Is it extremely difficult in these times of financial crisis to get
an Indie film funded and distributed? How does it compare to when you
first started doing I'll Bury You Tomorrow?
It hasn’t changed at all since I'll Bury You Tomorrow…lol! After 12
years we still scrimp for money and push ahead to create regardless of
our financial state. If you sit still waiting for that big budget to
come, you’re dead in the water. There are definitely scripts I love and
want to see on the big screen- but they demand a lot more money than my
present projects. So while we wait and campaign for those to happen, we
continue to create smaller films that are character driven, edgy and
different. Distribution has come easier because we are developing a
name. It’s a new learning experience with each film in regards to
getting the best deal to fit an individual project. The business is
constantly evolving and we try to keep up with all the latest info on
companies, regions, demographics and placement. It’s truly the final and
most important step in getting your film out there. You could have the
most creative film ever, but if a solid deal isn’t made, it will just
disappear and become part of another company’s catalogue. You really
have to work just as hard as your distributor – even more - to get your
film noticed and seen. This is where the real work begins!
Do you prefer to work mainly behind the camera as opposed to
playing dual roles (Actor - Director )? Is it a more difficult process
to pull double duty on your films?
Not at all. This is how I began, so it seems normal for me to pull off
the duties of writer/director/producer/actor at the same time. I’m
involved in all aspects of my films, especially post-production. I just
can’t hand a film over to someone else and let them at it. I have to be
100% involved in order to get my style across.
One of my pieces in the upcoming GALLERY OF FEAR titled DOWN THE DRAIN
is actually the first time where I only directed and produced. It was a
totally new experience that threw me off a bit because I wasn’t in front
of the camera. But breaking that ice made me more involved in the
actor’s performances and the production. I realized that playing
supporting roles in my films are much easier than starring. I get to
shine a bit and then go back to focus on the project as a whole. At my
age and with whatever camera presence I may have, I’m realizing I’m
better in smaller doses or as part of an ensemble cast (unless it’s a
short or an anthology piece). I do have some scripts in mind for myself
in leading roles, but they are tailor-made for me and will only happen
when the time and budget is correct. You just have to be sensible and
realistic about these things and do what’s right for the film. The last
thing I would ever want is to cast myself in a role I should NOT be
playing. You have to know your limits and abilities. And I don’t mean
that negatively. You just have to use common sense.
Can you tell us a little bit about THE TALES OF POE?
Oh YES! TALES OF POE is an anthology and the current brainchild of Bart
Mastronardi. It is one of the most creative experiences I have had to
date. Bart has already wrapped his first segment, THE TELL TALE HEART
with the gorgeous Debbie Rochon, Lelsleh Donaldson, David Marancik, Joe
Quick and a truly amazing performance by Desiree Gould. Bart gave me a
great role in the vein of a very ghoulish Nora Desmond! The beauty of
the POE tales are that they are open to so many interpretations. Bart
has brilliantly readapted the story by placing it in the 1950s and
switching the genders of the main characters to female. It’s a great
twist and with Dominick Sivilli’s fantastic cinematography, they have
brought a unique new storyline to this ageless tale. The segment we are
now working on is THE CASQUE – based on The Cask of Amontillado. Bart
gave me the green light to write and direct a new version of this
classic and we put quite a new stamp on the theme; Gay Marriage - gone
very, very wrong!
It stars Randy Jones (of The Village People and he’s magnificent!), the
very handsome Brewster McCall and myself in a deadly love triangle of
greed, deception, murder and revenge. Bart is lensing the production and
with great help from producers Robert Kuiper, Amy Lynn Best, Mike Watt
and David Marancik, it has become it’s own animal in the vein of a 70’s
Italian Giallo/Film Noir ala’ Double Indemnity. It’s been too much fun
to shoot! In addition, I have the remarkable talents of Jerry Murdock,
Zoë Daelman Chlanda, Douglas Rowan, Susan Adriensen, Amy Lynn Best and
Carl Burrows. As an added bonus we have maestro Tom Burns lending his
fabulous scoring and sound design to the entire film.
Bart also has some more great surprises in store for his third segment.
He is collaborating with the uber talented Michael Varrati and has an
amazing cast lined up of classic Final Girls that include Friday the
13th Part II’s Amy Steel and TCM II’s Caroline Williams!
How is it working with Bart Mastronardi on that film? He did a
stunning job with VINDICATION I must say, a very haunting nerve wracking
film.
Working with Bart Mastronardi is truly the very best experience. We met
when I was assembling the creative team for THE BLOOD SHED and we have
been working together ever since. What he brought to that little film
was a world all of it’s own. It’s stunning to look at.
I worked with him on his debut film VINDICATION as an actor and behind
the camera. He was a caring and very meticulous director, always even
keeled and a most gracious host.
As cinematographer on THE BLOOD SHED, A FAR CRY FROM HOME, CRITIC’S
CHOICE, BY HER HAND SHE DRAWS YOU DOWN, RAZOR DAYS and TALES OF POE, you
get a film style that is innately ‘Bart’, but at the same time he
creates something separate and unique to the storyline itself. He always
raises the bar with each new film with inventiveness, art, color and
style. I can’t imagine doing a film without him and I must admit to a
little postpartum when we are on separate film shoots. So any
opportunity we do get to work together is a much anticipated event for
me.
It has become a trend in the past several years to remake horror films. What is your take on this trend??
I’m all for it if the stars align correctly. Some remakes have been
fabulous while others just become the product of cheap Hollywood cashing
in. But some that I have seen (Dawn Of The Dead, Texas Chainsaw
Massacre, My Bloody Valentine, Halloween) I think are terrific. Remakes
are a natural progression in films and always have been since the advent
of The Talkies in 1929.
Actually, Anthony Sumner and I were set to do a remake of a famous 70’s
Grind House film a short time back until I foolishly involved myself
with the wrong people and had it swiped out from under me. Bad Drama -
bad Karma - and an all-around hideous experience. It really opened my
eyes to this business and those who will do anything to grab onto you to
move ahead. 2 years of pre-production, legal research and gathering
funds were just flushed down the drain because ‘I’ did one very wrong
thing. I released my script and business proposal to this interested
party without having them sign a confidentially agreement. So 6 months
later and no word from that party resulted in my discovering their
intention to proceed with their own version of the same film. The most
pitiful part about it was that I read it in the press and was never once
contacted or notified. It was a very big blow, but at the same time my
own fault for not knowing better. That’s when I learned there is just as
much bad business in the independent industry as there is in Hollywood
because so many are desperate for attention and fame, no matter the
cost. But I quickly moved ahead with my own original material. I
realized the more attention I give to negativity and those who bring it
is one less day I have creating and developing my own material. And that
I WON’T be robbed of. And one day we may still make this particular
film, but presently we have much more interesting and creative projects
in production. C’est La vie!
What are some films you feel could use a good ole fashioned restart?
I like the more obscure ones that had great storylines and characters.
Remaking so-called classics is a very big responsibility to take on. If I
had my choices it would be great to re-imagine films like FROGS, MUTINY
IN OUTER SPACE, VOODOO ISLAND, THE WITCHES (AKA THE DEVIL’S OWN), THE
DAY THE EARTH CAUGHT FIRE, BLOOD ON SATAN’S CLAW, CRIMINALLY INSANE –
Oops, did I just spill the beans on that because I’m going to be in it?
lol!).
I finally saw a mesmerizing art film for the first very time called THE
BALLAD OF TAM LIN 1969 (AKA THE DEVIL’S WIDOW). This was Roddy
McDowall’s only directorial outing starring the still breathtaking Ava
Gardner, Ian McShane, Stephanie Beacham and Joanna Lumley. It’s
gorgeously filmed, mod, deep and quite psychedelic. Just a stunning film
that could have a whole new life of it’s own in the right hands.
As a filmmaker how do you feel about digital cinema in general?
What kinds of camera do you use to film most of your productions?
What’s there NOT to love about digital? We have been working with the
Canon 7D and it is a fabulous piece of equipment. You can do SO much in
post with the picture. My last film GALLERY OF FEAR, which took 3.5
years to produce, is our final film in standard definition. I loved that
format as well when it was popular because I had the very best
cinematographers in Bart Mastronardi, Dominick Sivilli and Anthony
Sumner. I feel it is not about the camera as much as it is the
cinematographer. Today anyone can pick up a camera, point, shoot, and
call it a film. But if don’t have an artist behind the lens utilizing
the equipment to it’s fullest capacity, then you have a very boring and
ordinary looking movie. Independent film is all about taking chances,
expanding, creating and developing something unique and different.
Even in your most " insane " roles your wardrobe and make-up is
immaculately in unison with your character. Do you get to select the
look of your characters and what they wear?
Thank you for noticing! Again, my early years in fashion design school
and working as a stylist has been a great education for me on set.
Directors trust my instincts and that gives me a lot of freedom when
developing my characters. I do insist on doing my own hair and make up
for a character unless it involves heavy prosthetics – then I leave that
to the artists on set. On my own films I always dress my cast, whether
from their own wardrobe or bought. Wardrobe and make up are so
important. My goal when dressing actors is to put them in clothing that
not only fits their character, but also reads well with the
cinematographer’s color palette. I never use anything ‘trendy’ or too
fashion forward because I don’t want a film to look dated 20 years
later. So I restrain myself by using more classic and non-descript
wardrobes that won’t overtake the actor – unless their character demands
a particular sense of outrageousness. This goes for hair and make up
too. Unless you’re producing VALLEY OF THE DOLLS or STAR TREK, make up
and hair should be seen and not heard! Lol!
Is it hard work to sell and promote a film once it is completed or
while the film is in production? Is it more difficult to promote
domestically or internationally?
This final chapter of a film is just as hard as the first chapter of
financing a film. You may be lucky enough to have a distribution deal
already set, but for most of us it is off to the marketplace as soon as
the film is complete. A lot of filmmakers can become very frustrated
with this process, and understandably so. You’ve worked so hard to get
to this point and are physically and emotionally exhausted by the time
you say ‘it’s finished’.
One thing I have learned is that sales always plummet in June, July and
August because the average viewer is out doing other things and spending
money elsewhere. So allow yourself time and plan out your strategy.
Fortunately with our respected genre comes unlimited resources, both
foreign and domestic, to get your film known by simple word of mouth.
Film festivals run abundant in the horror industry and it doesn’t hurt
to take your movie ‘on the road’ for special screenings in key cities.
It’s always wise to have some budget money set aside just for promotion.
You can do a lot with very little if your creative.
What are some important tools or suggestions you can give on promoting an independent or no budget film?
Be completely involved, but also be HUMBLE and not a pompous jerk.
Promote on movie review pages, Internet sites, Blogs, forums, social
networks and magazines. Screen at conventions, film festivals and make
yourself and your cast members available to any interested party that
wish to speak with you. It always helps to accumulate some good review
quotes from noted critics/reviewers to set the tone for an upcoming
release. Be persistent, have great visuals, artwork and trailers to
represent the film properly, and excite the viewer. But you also have to
learn balance on how not to over saturate your film and when to pull
back a bit. Your timing and pacing has to be right. If you over promote
your film when it’s unavailable for sale for another 8 months or has yet
to find a distributor, then viewer’s may loose interest and their
buying wanders to the next film that is available.
Promotion is just as much hard work as making the film itself.
And if YOU don’t believe your film is any good? Who will?
While patrolling the internet for men ahhhh I mean hot action. SHIT I mean a good story I stumbled into a conversation with writer - director David C. Hayes of Backwoods fame. Backwoods is an amazing little low budget masterpiece that is nasty , offensive , and just downright fucking bizarre and wonderful. If non of you have seen Backwoods it is almost mandatory viewing below is a trailer and a link in which to purchase the film on amazon.
Now the real reason this old girl has emerged from her drunken coma long enough to bash the keyboard is because Mr. David has given me an exclusive on BACKWOODS 2 which has already been filmed and is gearing up for a release ( hopefully very soon). I had the chance to chat with Mr. David via facebook about the sequel and this is the tasty info he shared with me :
" Lol. Yeah, we made one. It's on the down low. We spent less on it than
the original and are re-using the Mangina footage with a new voice
actor. We got me, Cannonball Boy and Mama back for the sequel. Also
threw in Kevin and Jeff from Blown and Steve from Blood Orgy of the
Damned. It's horrible, but Maman flies now and shoots laser beams out of
her eyes. Glorious... nearly unwatchable, but glorious. "
Color me VERY excited about this one babies, as soon as more information is available you will be the first to know.
Well hello there once again my babies ,it's me Demonica. Honestly, who else did you think it was going to be? This is MY fucking website after all. Dumbasses.
Once again your dear old mama has snagged another stimulating interview with a very interesting new talent, Jame Cullen Bressack director if the exciting new indie MY PURE JOY. MY PURE JOY looks to be a demented and nasty ride through the deranged mind of serial killer and if what I hear is true we are in for a treat. Below Mr. Cullen - Bressack discusses some of his inspirations and dislike and expresses his undying love for Demonica Vansant. Well everything except that last part. ENJOY !!
Have you always had a leaning towards films that where a little more obscure ? What are some of your early favorites ?
Oh
yeah I was always into some effed up shizz. When I was 3 years old I
would cradel a the VHS of HELLRAISER, because I was obsessed with how
Pinhead looked. I would sit in my room and craddle the VHS as if it were
my child. I wasn't allowed to watch the film, but man did I try! I also
remember when I was a bit older I was OBSESSED with ICHI THE KILLER and
RIKI-OH THE STORY OF RICKY. I'm still obssesed with these flicks now!
lol nothing warms my heart more then seeing disgustingly violent films!
Did You attend Film School ?
I
went to a film school for 3 weeks then dropped out, so basically I self
taught. I watch other films to decide what I think is cool and from
there I hone my style as kind of a mishmosh really. Basically I trust my
taste in films enough to dictate how I make them haha.
What are some " sleazy " films that you have loved that have also inspired you to make horror films ?
Oh wow. There are just so many to list. Most everything coming
out of Korea for starters. Anything made by Miike, or Hennenlotter. I'm
pretty much inspired by the 1980s all together.
Who are some of you personal favorite " sleaze" directors of any genre that have inspired you to make films ?
Oh man another good one. But I will just name one name this
time because I don't want to ramble on forever. FRANK HENENLOTTER. I
love that guy's stuff!
What was the last GREAT underground or sleaze film you recall seeing ?
The last great nasty I watched was Hobo With a Shotgun, I know it's more mainstream but I can't stop watching it!
Any directors working currently in the genre that you admire a lot ?
I have complete respect for any and all director's in the
genre. To go out make your dream happen, and to put yourself on the line
for your art is something to admire. But If I had to name a few, Eli
Roth, Takashi Miikie and Frank Hennenlotter.
Can you tell me a little about your production company and how it was
formed , what is the process in developing and maintaining a company ?
I
teamed up with my executive producer on MY PURE JOY, Jarret Cohen, and
founded PSYKIK JUNKY PICTURES together. We made this company in order to
make some really awsome flicks that we hope everyone enjoys. Mostly
tho so I could put really nasty things in our movies and we couldn't get
sued for it! haha just kidding
Is it
extremely difficult in these times of financial crisis to get an Indie
film funded and distributed ?
You would not believe how
hard it is to get something funded, I lucked out! But perseverance is
key! Distributon on the other hand isn't that difficult. There are tons
of companies looking for indie horror flicks, you just needa know where
to look. I have helped a few friends of mine find distribution for their
films when they couldn't find distribution. It's all about sending
millions of emails! hahaha
Do you
prefer Acting as opposed to directing ?
I prefer to work behind the
camera but I do like to stick myself into stuff I do for a line. I would
love to say 1 line in someones film, but that's about it.
Can you tell us a little bit about MY PURE JOY and how in came about , where did the idea originate ?
MY PURE JOY originated from me having a complete nervous
breakdown and writing a script as if I was a serial killer. I took my
anger out on everyone around me in the script. So basically it stopped
me from grabbing a machete and goin ape shit one everyone. You might
think I'm kidding, I'll let you decide ;)
It has become a trend in the past several years to remake horror films. What is your take on this trend ??
I think remakes are stupid. I have never seen a good remake. End of story.
. What are some films you
feel could use a good ole fashioned restart ?
I think every
single film ever made should be redone with an added Narration track by
Morgan Freeman and Rob Schnieder playing the lead. I think that would be
a great idea!
As a filmmaker how do you feel about digital cinema
in general ? What kinds of camera do you use to film most of your
productions ?
I love digital. It's the wave of the future,
although at some point I wanna shoot on film for that extra grainy
look. I use standard studio Quality Sony HD cams, or a Cannon 60D.
Helps my swag a bit.
Is it hard work to sell and promote a film once it is completed or while
the film is in production ? Is it more difficult to promote
domestically or internationally ?
It's for sure more difficult to promote internationally.
What are some important tools or suggestions you can give on promoting an independent or no budget film ?
Just get the word out however you can. Post stuff, email people, make a twitter. Push the film to every medium you can!
1 When working outside the system does the MPAA harass you much as an Independent filmmaker ?
I haven't heard from them at all. We can't get this film rated, it would never be released if we did!
What are some directors that influenced the look and feel of MY PURE JOY ?
Hitchcock, Hennenlotter, Tarentino, Chan-wook Park, Miikie, and Kubrick.
What are some projects you have looming on the horizon ? Any chance one could be a follow up to MY PURE JOY ?
I don't see myself revisitng the MY PURE JOY universe any time
soon. But GET OUT ALIVE, which I am Producing, and THEATER OF DERANGE
and MORBID MOVIES, which are anthologies, I am Writing/directing
segments for. I want to make as many quality flicks as possible in my
life time. So I hope More comes up soon :)
I know you have made several short films before production of MY PURE
JOY ..... Will those ever be released ? Or they now available to be
viewed ?
They were released on youtube and stuff for a
while, and sent to a few festivals.. but looking back on them, I don't
want ANYONE to ever see them hahaha.
I really enjoy the title Heroine Junky
For Dummies . Can you elaborate a little on that specific short film and
you experience with it ?
Basically it was about a
character, played by me, taking a crash NA course because I got addicted
to heroine. It was pretty much a kookey wacked out anti heroine
infomercial with a storey. In it I killed my mother and danced ontop of
her dead body while shooting up heroine and talking in a british accent.
I have no clue why any of that was in my head at the time it was
written but hey it happened.
Is it difficult to cast a independent film ? To Find actors who
are willing to do outlandish things for minimum pay ? What is some advice you have for directors in that area ?
LACASTING.com
is the best place to go for a casting call, no matter what pay scale
and such you will have hundreds of actors that want to be a part of your
project!
What's some advice you would like to give upcoming filmmakers with low to zero budgets ?
Make the best possible film you can. Make sure you create a fun and
engrossing storey, with good characters and work your ass off to make
the best product you can. Budget can't limit you if you have the
ambition, imagination and drive to keep going.
When and where will I be able to see MY PURE JOY ?? I'm very excited about this film.
I will send you a screener soon. There is no official street date for everyone else yet tho :( You can see it in Oaklahoma on September 29th
And of course since this is THE TRASH COMPACTOR please leave us with
what you think to be the " best" , " trashiest" moment in film history ever ?
When he anally rapes the newborn baby in A SERBIAN FILM. :)
Thanks
for having me! It was fun! I hope you enjoyed my responses. If you
wanna hear more of my random ramblings you can follow me on twitter
@jamescullenb
I have been around the block my sweets and that is putting in mildly. I have seen it all. I have done it all. I have heard it all. So when mama hears something that makes her want to put the flask and Percocet down , she takes a genuine notice at the origins. Lady Soal has been kicking major snail pussy in the local scene ever since it was formed in 2008. The music is a very refreshing mix of pop , funk , and R&B sounds that brings the best of all genres together for a unique and original take on music. To make it even more refreshing and fabulous it feature none other then my good friend DJ TREYLA TRASH who not only makes a memorable appearance but also did the makeup , the fucking fierce costumes , and worked as a creative consultant. You know this is one slick bitch Below is the new music video " THAT GIRL " which was just filmed in Ames , IA and WOW !!! It' s loud , sexy , and in your face and has just the right mixture for a genuine hit. So slip off those control tops honey and slip on some Cha-Cha heels. LET'S DANCE !!
OH MY !!! Please read this .... I just got what I consider to be the highest form of flattery , an insult !!! Love love love it !!! This guy just made my day. He does seem to be a bit confused however , I only post something MAYBE once a week .... Spammer ??? Hmmmmm .... I dunno.....
BTW
I'm offended that a spammer's site is called The Trash Compactor. When I
hear the term TRASH COMPACTOR it makes me think of the compactor in
Star Wars. Therefor when that term is used by spamming scum it makes me
so angry that I plan on building a time
machine so that I can travel back in time, sneak into George Lucas'
office and change the script to Star Wars so that it reads... Han Solo
says, "Chewie. Into the garbage shoot. I don't care what you smell!
Wait. You smell Demonica Vansant's crotch rot? Ok. I don't blame you in
that case. That's smells like rotten fish mixed with fumunda cheese and
cheap wine and cigars!".
Cheap Wine !!! He has no idea does he babies ?? Mama doesn't just drink cheap wine ..... she practically breaths off a Franzia spout. He's just mad at me because as soon as he dumped his load I woke up confused , realized what had happened and asked for my money back.
Hello babies , it's me Demonica here with a special treat for all of you rabid and frothy little fuckers out there. Just yesterday as I was coming home from the grocery store I recieved a phone call from my doctor. Dr. Rutherburg proceeded to tell me about the results of my recent blood test , I am HIV positive.
HA HA HA HA !! Just fucking with you. Kinda got your attention , didn't it ? I do however have an interview with the one , the only , the sexy Matthew Reel writer and director of JESSICKA RABID out Aug. 9th from Troma ( who else ?). Below Matthew talks about some of his sleazy inspirations and favorite celluloid atrocities as well as what we can expect from his next cinematic assault SWET. So be sure to take some time and read over everything fuckers ............ ENJOY !!!!!
Have you always had a
love for obscure cinema or gutter cinema as I call it ? What are some of your early influences ?
Of
course, as far back as I can remember. My earliest theater memory was
watching 'Super Fuzz' with my mom. Even for a children's movie, it was
incredible goofy trash. Also as a youngster I would often walk down to
the mom and pop video store and spend hours gazing at the old big box
horror films. The artwork was always so salacious and morbidly absurd
that even though I never got to watch many of those as a kid, the images
always left an impact. My early influences are still some of my
influences today. Blood Feast and Wizard of Gore, Pieces, John
Carpenter films, Dune, Flash Gordon and Texas Chainsaw Massacre 2. the
films that most inspired my film work relate to my earliest exposure to
experimental films, namely work like 'Death of a Hollywood Extra',
Kenneth Anger and the like.
I hear you have a love of silent film and that your first
film Oubliette was a tribute to that genre. What are some of your
favorite films of that era and how do you use those techniques even still today ?
It boils down to
actions speak louder than words. Almost all my films, even Jessicka,
deals with very little dialogue and more about juxtaposition of scenes
and theoretical imagery. A cigar is sometimes just a cigar, but a
banana is never a banana.
I know you went to school with an interest in music and multimedia
before deciding on film as your form of art expression. Do you feel that
even still music plays an important part in the development of a film and the impression it can make on an audience ?
Music
and silence are the two most important aspects of any film. A perfect
example would be 'Once Upon a Time in the West'. The first ten minutes
of the film into the opening credits has no music but rather ambient
noise and long pregnant pauses, which ultimately leads to incredible
tension and anxiety in the viewer. Then of course when the final
showdown occurs, you have this maddening and blooming score by Ennio
Morricone building the exact same tension. The music stops, again
another pause of silence and then the violence ends as quickly as it
started. Moments like that are the cinematic equivalent to an orgasm,
seriously. Beautiful.
Did You attend Film School or was it all self taught ?
I
did attend film school, but didn't finish. I've learned in film school
you can deconstruct a film to the point the film is useless. It taught
me the basics, but the rest has been from studdying film language on my
own.
Tell me a little about THE GOAT SUCKER one of your
earlier shorts. Was that film at all inspired by any John Waters ? Did
The Goat Sucker intentionally have that Lynchlike dream quality ? It really put me on edge in a great way.
The
Goat Sucker wasn't meant to be a serious project. It started out with a
mask, a script I wrote in a day and the urge to shoot just about any
damned thing. It wasn't so much John Waters but rather early/mid
sixties drug and sex films. Particularly more along the lines of
Michael Findlay. It was also a film of experimentation in visual
styles, I did want to create something that was like a drug-fueled
nightmare.
What are some " sleazy " films that you have loved that have also inspired you to make horror films ?
Again,
back to Findlay, roughies and sixties proto-porn. The Flesh films were
astounding in how much sleaze and garbage that was thrown in those
films before the censorship boards started to disappear. You couldn't
go into a theater yet to see porn, but you could go see films like The
Touch of Her Flesh and White Slaves of Chinatown. Seeing films that
have razored dildos, poisoned g-strings. Even H.G. lewis had great
moments like that later on with The Gore Gore Girls with nipples getting
cut off and one breast spewing regular milk and the other chocolate.
And almost all films of that type have a scene of a woman in her
underwear going to the refridgerator and knowingly pull out a cucumber.
. Who are some of you personal favorite " sleaze" directors of any genre that have inspired you to make films ?
Again
with Michael Findlay and Lewis. You are also looking at Andy Milligan,
George Kuchar, William Girdler, Harry Novak, Paul Morrisey and Ken
Russell. I don't know if Brian de Palma would appreciate the notion,
but he's had some incredibly sleazy moments in his film.
What was the last GREAT underground or sleaze film you recall seeing ?
A
SERBIAN FILM. I've talked about the subject for twenty years about
wishing to see a film that broke every barrier and taboo to such an evil
degree in a classical narrative form. It's a strikingly beautiful film
but it is also the most repulsive and nightmarish film I had ever seen,
perhaps even too much, but A Serbian Film has set the bar.
Any directors working currently in the genre that you
admire or that you feel are bringing that underground edge back into the
limelight ?
I was highly impressed with the works of Nick
Palumbo thus far. If you see the right version of MURDER SET PIECES he
has an incredible grasp of visuals. When he's off he's off, but when
he's on it's going to be brutal and uncompromisingly striking. I've
been keeping an eye on the Toe Tag guys, while I don't think they've yet
come into their own I suspect they will break in in a big way. Jim Van
Bebber has been doing this for a while, but every work of his has shown
a great deal of maturity with whatever subject matter he works on. I
was highly pleased to see The Manson Family do so well. One film, a
director known only as "Escalpo Don Balde" made the extremely wonderful
and perverted BRIDE OF FRANK, shot on video released on video back in
the 90's. It's one of my favorite films, so much potential. Anyway, I
think the director that has the most promise is Damon Packard. His work
is actually a big influence on my own, and if you can track down the
original cut of REFLECTIONS OF EVIL it is probably the most exhaustingly
wonderful underground film I've seen, or any of his other work for that
matter. He's going to be making an appearance in SWET, if you haven't
seen his work then you have no idea how crazy and wonderful that's going
to be.
Can you tell me a little about your production company and how it was
formed , what is the process in developing and maintaining a company ?
Master
Reel was started for the production of SWET. For the time being it
serves the purpose of a fancy and professionally pretentious way to
announce "A Matthew Reel Film". But really it's a spare bedroom
operation, but I have been getting some offers for some freelance work
so hopefully Master Reel can expand into something much more.
Is it
extremely difficult in these times of financial crisis to get an Indie
film funded and distributed ?
You know it is and it isn't. It's
kindof worrisome thinking about SWET because that's one film that has so
many production elements, it's going to be expensive. But also because
of the various production elements and the somewhat fractured narrative
it presents, I have an opportunity and rare luxury of producing it
piecemeal and having an advantage from it.
Do you
prefer to work mainly behind the camera as opposed to playing dual
roles ( Actor - Director ) As I believe you did in THE GOAT SUCKER ?
Much prefer the behind the camera work. It's the inner god-complex at play, I suppose.
Can you tell us a little bit about JESSICKA RABID and how it came about , where did the idea originate ?
Jessicka is about a girl that has been sexually abused her whole
life by her family and treated, literally, like the family dog. the
idea started from my film partner on the project, Elske McCain. We were
out of ideas and creative gusto and she suggested I write a script
called JESSICKA RABID. After house sitting for her and taking care of
her crazy dog and watching films like Bad Boy Bubby and The Baby, I had a
script.
From the looks of the JESSICKA RABID trailer it seems to be keeping very much with your style of grainy almost dreamlike nightmarish material ... Is this where most of your projects originate ? It's almost as if you have that Andy Warhol/ Paul Morissey matter of fact vibe coupled with David Lynch like visuals and an Anarchist attitude. I dig it.
Thanks! My work
often originates from a notion. I know that I want to create a certain
mood or idea, and so I work from there. And everything can be
accomplished visually, so I use what works for the film. Life doesn't
make sense, it's full of nightmarish absurdities, so I go with what
makes me uncomfortable and go with it. And since Jessicka, there have
been several real life cases like that guy in Europe who kept his
daughter in a cellar her whole life. Bizarre.
It has become a trend in the past several years to remake horror films. What is your take on this trend ??
I say remake everything. It's always been a trend. Since the
writer's strike, I think it has become a bit more of a comfortable trend
for studios to revisit old properties and bring them back. they are
what they are, and while I get annoyed most of the time because I can't
often relate to something that may have been special to me at one point
in my life, it's no big deal and some of them have been quite good. I
think I'm more confused by studios having a knee-jerk reaction to
current franchises and having to "reboot" everything before the body is
even cold. Why does Warner Bros. have to talk already about rebooting
Batman after Nolan leaves the director's chair? Or look at Spider-Man.
Money. Money. Money. Peter Parker is emo enough as it is, let alone go
the Twilight route.
What are some films you
feel could use a good ole fashioned restart ?
No film in
particular, but I would say westerns. I love westerns, I adore them and
they've become a dead thing. Once in a while you'll find them in the
theater, but it irks me that the majority of new westerns are some weird
post-modern mish-mash that they are no longer westerns. And it irks me
that the only new ones you can find are on the Hallmark channel and
aren't worth watching. That's why when something like the remakes of
"True Grit" and "3:10 to Yuma" are so damned welcome to me. Bring them
back.
As a filmmaker how do you feel about digital cinema in general ? What kinds of camera do you use to film most of your productions ?
Digital
today isn't even what digital was a few years ago. The technology has
improved so much that it has become impressive. I suppose things I have
a problem with is that when I'm watching a blu-ray film that sometimes
an older film is cleaned up so much that it no longer behaves as if it
was shot on film in the first place. Film behaves differently and even
on the best of HD televisions, it no longer has that warmth or emotional
impact. Truth be told, 35mm film has the resolution equivalent three
times that of the best HD can offer at the moment. Do I prefer film?
Not at all, digital works wonders. Now as far as current trends, 3D
needs to go. rarely does it work in a truly impressive manner. I
suppose it can add that parlor-trick element to what you're seeing, but I
am bored to death of these overblown special effects ridden features.
You would have to drag me kicking and screaming to see what had been
done to JOHN CARTER. Now with that said as much as I do not want to see
THE HOBBIT, it is being shot in a 48p format which could become the
next industry standard. We'll see. As for me, I shoot with what I have
which is a small prosumer Canon HD camera. With SWET, it's a
multi-aesthetic film so I will also be shooting on VHS and S-VHS if I
can swing it.
Is it hard work to sell and promote a film once it is completed or while
the film is in production ? Is it more difficult to promote
domestically or internationally ?
When you're doing things on
your own, it's always hard work. And you have to continue to promote it
every step of the way, no matter if it's domestic or international.
You keep talking about it until you are blue in the face, but when you
don't have a studio behind you that's what you have to do for it to
work.
What are some important tools or suggestions you can give on promoting an independent or no budget film ?
Don't
rely on dialogue to get get the movie done, don't get married to the
script and always think about how things will be pieced together as you
shoot them.
When working outside the system does the MPAA harass you much as an Independent filmmaker ?
Not
at all. No impact yet, only that the independents are kindof snuffed
out of the equation. But of course there's a lot of shit coming out of
the independents these days, it is what it is.
What are some directors that influenced the look and feel of JESSICKA RABID ?
The
look of the film boils down to the movie SNUFF. I had toyed around
with differnt looks and film behavior along the way, but Snuff in
particular had that dirty look I was looking for.
I hear your next project is going to be SWET based
on and around the band of the same name. Could you tell us a little
about that ?
SWET stands for "Soaking Wet Entertainment
Tonight". If I were to describe it as a band made up of meth addicts
who suddenly find their way to stardom, only to be hunted down by an
international crime conspiracy and finding themselves trying to protect
an evil malevolent pop-star, that would be somewhat correct. But it is
much more than that. I used to joke around years ago with my friends
from high school about people who used to do too many drugs and huffing
scotch guard. I went on to make movies and they went on to start a band
called The SWET Band which continue to use those exact same themes in
their music. I've always wanted to do a music-themed film, so that's
basically how the concept started. I am working with both them and my
wife, Romerita Prates, who is starring as the "Lady Gaga" creature
Madame.
The teaser trailer that is now online kind of stirs up
old feelings of 80's hair metal horror on acid ala Black Roses and Trick
R Treat with the off the wall Argento lighting and synthetic sound. Any influence in that department ? Or is this a whole new breed of bitch ?
This is definitely a whole new breed of bitch. There's
nothing conventional about this film, not in the story or the format.
If we're talking music-themed horror, the closest in this field would be
Phantom of the Paradise, but it goes even beyond that. This is in a
category of it's own. Sometimes it is like an old Cannon action film,
other times it is like Head, Henry: Portrait of a Serial Killer, Beavis
& Butthead and so on. The script is staying on point, but this is
definitely something unlike you've seen.
How important was the actual music of SWET in developing the films story ?
100%
important. A lot of the scenes and scenarios in the film have come
from the music and musical ideas of The SWET Band, so I have immersed
myself in 80's music videos and action movies, constantly listening to
80's new wave while watching disturbing documentaries about meth and
drug abuse. Listening to music by Missing Persons is just as important
as watching Cobra or Miami Vice in developing the film. there are also
several moments in the film that deal with a crazy fundamentalist church
from the 70's, they take their notions so far that they have burned
eight people alive. they had a gospel band, so it has been rather
useful listening to old gospel music like The Louvin Bros to bring out a
layer of depth to such scenes. I've been dealing with abstract notions
even in the story, and it has been interesting putting this film
together as it is coming from a singular concept. SWET.
Since SWET does appear to have a more punk aura about it ,
how will it stay true also to your grainy almost grungy earlier films ?
I've
been somewhat versitile in my films in the past. there's a lot in
common with films of mine such as "Toutes les Francais sont Putains (All
the French are Whores)" and "Bath Water." Not to mention SWET digs
deep into its own grunge and filth. You'll see, this is very much a
Matthew Reel film. But yes, it does have a old punk film feel along the
way. I've been studying films like Repo Man to grasp the timing of the
dialogue and how the satire and non sequiturs play out. But the stuff
that has changed, i don't think anyone will mind, as weird as it is this
is my most personal film to date.
Is it difficult to cast a independent film ? To Find actors who
are willing to do outlandish things for minimum pay ? What is some advice you have for directors in that area ?
Yes
and surprisingly no. You may have to keep casting to find the right
person, but often times you will find someone who seems to be having a
lot of fun doing these crazy things. As far as advice, be patient and
you will find what you need.
What's some advice you would like to give upcoming filmmakers with low to zero budgets ?
Don't
fill up your script with useless dialogue unless it serves a purpose,
don't throw in movie refernces for the sake of movie references, and
shoot!
When and where will I be able to seeJESSICKA RABID or SWET I'm very excited about these films.
JESSICKA
RABID is being released by Troma this week on DVD, you should be able
to purchase it after August 9. As for SWET, who knows yet. It's a long
road, but trust me it will be worth it!
And of course since this is THE TRASH COMPACTOR please leave us with
what you think to be the " best" , " trashiest" moment in film history in any genre
It's
hard to boil everything down to one particular scene. I could simply
say the entire movie of Thundercrack!, I think it boils down to three.
The scene I had previously mentioned from The Gore Gore girls with her
nipples getting cut off to only squirt different flavors of milk, Udo
Kier licking the virginal blood off the floor in Blood for Dracula or
the dance of the seven veils sequence in Salome's Last Dance by Ken
Russell. favorite trashy quote, from Findlay's FLESH series: "Do you
know what a dildo is?" "Why yes, it's a girl's best friend!"
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