Eric Stanze is a director, writer, editor, and producer who primarily works on independent feature films. He has also worked as an actor, voice-over talent, and 2nd unit director. Stanze began interning on local commercials and music videos at the age of 16. He entered the industry professionally when he was 18.
Eric directed, wrote, shot, and edited the feature film Deadwood Park which received high praise in both Rue Morgue Magazine and Fangoria Magazine, as well as critical acclaim from many additional on-line and print publications. The movie premiered at the 2007 Freak Show Film Fest in Orlando, Florida, where Deadwood Park won Best Feature and Best Cinematography.
Eric directed the controversial and critically-acclaimed film Scrapbook. The movie was named Best Independent Film Of The Year by Rue Morgue Magazine.
Eric directed Ice From The Sun. The movie won Best Horror/Experimental Feature at the 2003 New York International Independent Film And Video Festival.
1. Films like SAVAGE
HARVEST and ICE FROM THE SUN were originally released on VHS. What are your thoughts on the trend of VHS
collecting that has occurred over the past few years? Do you find it humbling
that your early films are still being sought after by these collectors?
I
think it's interesting, this resurrection of VHS that is going on, especially
since I was in grade school when the video boom began. Renting piles and piles of VHS tapes from mom
'n' pop shops became a big part of my youth, and VHS represents a huge portion
of my horror cinema education. It rarely
occurs to me that anyone would want to own my early movies on VHS. I tend to think about such subjects more as a
fan than a filmmaker. When I consider
something like the independent direct-to-video horror scene of the '90s, it's
kind of a jolt when I suddenly realize, "Oh yeah, I was a part of all
that."
2. Where do you draw
your ideas for your scripts from? And do you have a certain process that you go
through when writing them?
The
process tends to change with each project, partly because I learn from past
projects, and also because each new project tends to demand a different
approach.
I
like to explore and challenge myself, so my ideas for scripts are mostly born
of my desire to try something new. I
appreciate the adventure of making each new movie, so I write what I'd like to
experience and try to pull off as a filmmaker.
Unfortunately,
at the budget level I've been working at, the story tends to be shoved around a
little bit - or a lot; as in, you can write whatever you want, but at the end
of the day, the story is gonna go in the direction your limited resources
dictate. But that's part of the
adventure too - staying on your toes and trying to make those limitations in
budget and resources work for the story, instead of completely demolishing
it.
I
know I would be a better filmmaker today if I settled into a routine, practiced
the same techniques over and over, and just kinda made a string of similar movies
- but I have no interest in that. I'd
rather be trying new things all the time, even if that means I make more
mistakes. Also, I think fans of my work
would tend to say that's one reason why they're fans - ya never know what to
expect, and each new movie will deliver a nice surprise - and feel inventive
and intriguing instead of safe and stale.
There is plenty of safe and stale out there. I'm trying to be an alternative to all that.
3. You're newest
film, RATLINE, is more of a gritty grindhouse style film than some of your
previous work. Is this something you've always wanted to do? Any specific films
or directors who helped shape your direction?
I
don't think goin' grindhouse was a priority of mine on RATLINE, but a lot of
people have commented on RATLINE's grindhouse vibe. It comes from my love of not just that kind
of film, but of that era. I consider
1968 through 1982 the peak of American filmmaking. Obviously, there are many brilliant films
made before and after this span, but this golden age, in which I include major
studio films as well as indie horror and exploitation films, influenced the
tone of RATLINE. Not because I forced
it. It was just because I let my
personal tastes as a film fan kinda color the project.
Story-wise,
I was actually thinking more along the lines of doing a very gritty, very
adult, and very violent version of an "X-Files" style story. That's where all the paranormal shenanigans
came from. The crime thriller element probably
comes from a wide variety of influences, including giallo films. And maybe the Coen brothers? Michael Mann?
Maybe Friedkin's THE FRENCH CONNECTION.
Walter Hill's THE DRIVER.
VANISHING POINT and DIRTY MARY CRAZY LARRY too, perhaps. I had recently seen Mario Bava's RABID DOGS
as well as HITCH HIKE starring David Hess for the first time when we started
writing RATLINE. Hard to say, actually,
what fueled me to hit the crime thriller note so hard.
4. As a man who has
taken on just about every role involved in film, do you have a certain seat you
feel more comfortable in? And what do you find the most tedious and least
favorite?
Directing
is where I feel most comfortable. If I
had to choose one post, that would be it, and I'd leave cinematography,
editing, and everything else to qualified collaborators. Until recently, I found writing very difficult
- mostly due to my inexperience and lack of education. However, now that I've been at this a while,
I've written a decent stack of screenplays.
Half of them are unproduced - and most of those unproduced scripts should
stay that way. That thing they say about
writing - that you really have to do it constantly to get good at it - well,
it's true. So now, finally, I feel
comfortable as a writer and I'd consider that my second most desirable
position.
I
really have done a bit of everything - from producing, cinematography, and
editing, to acting, special effects, location sound, grip and electric. I don't find any of it tedious, really. I enjoy being on a film set - but I feel most
comfortable doing what I’m most experienced at, so directing, writing,
producing - that's where I'd rather be.
Can I function as your best boy grip on a low budget shoot? Sure.
But I won't do the job as well as someone who works G 'n' E
consistently.
The
only position that I dislike and don't want to do again is assistant
director. I AD'ed a short film once and
I hated the experience, but maybe my unhappiness was specific to the
circumstances of that shoot. I don’t
think I did a very good job, and I have not been interested in doing it again.
Also,
as a side note: I've directed 2nd unit or FX unit on small films that I was a
producer on, just to get the project completed more efficiently - but the first
time I directed 2nd unit for other producers was on STAKE LAND, and I enjoyed
the experience tremendously. I
definitely would not mind more 2nd unit directing gigs being thrown my way.
5. You've been
working in film since the early 90's, which saw the peak and fall of the home
video market. With sites like YouTube, Amazon, and social networking sites like
Facebook being key in marketing do you think it is easier or harder for film
makers to market their product to a potential audience?
It's
much easier today, absolutely. In the 90s
we had these things called magazines, printed on a strange non-electronic
surface called "paper" (pronounced "pay-per") so film
reviews, director and actor interviews, and other film buzz moved very
slowly. Today, it's all available
instantly, and horror fans all over the world are internet-connected, so
"word-of-mouth" travels super-fast too.
Marketing
is easier, as is distribution. In the
old days, smaller distributors had to jump through a million flaming hoops to
get Blockbuster or Best Buy to pick up a few copies of your movie. Meanwhile, the big studios struck deals with
the rental chains and retailers that dictated how many units of each of their
titles would be visible to shoppers, and how few other films would be displayed
on the same and nearby shelves. The
independents were choked out, even if they managed to claw their way onto the
retail shelf at all. Today, Blockbuster
is dead, the Best Buy stores are ghost towns, and everything is purchased or
viewed online. It levels the playing
field. You can find a little indie film
on Amazon just as easily as you find a 200 million dollar major Hollywood film:
just type it in the search box and click "go".
Bonus Halloween
Questions
6. What scares Eric
Stanze?
The
major thing that upsets me is anything medical.
I hate hospitals, I am scared of doctors, and any discussion about the
most common and mundane medical issue will get me woozy. I can put blood-soaked, horrifying violence
into my movies and enjoy every moment of it - but if I overhear someone
discussing appendicitis or something, I'll probably pass out.
7. Over the years we
have seen so many remakes in the realm of horror films. If you could, with no
budget constraints and the cast and crew of your choice, what film would you
love to remake?
Mario
Bava's KNIVES OF THE AVENGER would probably be my top choice. Actually, half of his filmography represents
enticing remake opportunities. I'd also
be interested in taking a cult horror film from the 80s, something kinda campy,
and remaking it very intense, shocking, and scary.
Many thanks to Eric for being a part of our Halloween special!
- Brandon Bennett
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