The Mini-View Resurrection Featuring Eric Stanze

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.

http://ericstanze.com/

http://www.fearnet.com/blogs/surviving_cinema/index.html

http://wickedpixel.com/

http://www.imdb.com/name/nm0822855/

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

The Mini-View Resurrection featuring Thomas Berdinski

Happy Halloween one and all!

As a special treat, and to mark the return of The Indie Film Revue I am bringing you a few new Mini-View's with directors whose work are generally in the realm of horror. So I hope you and enjoy!

Here is wishing you all a very spooky Holiday! Enjoy and please spread the word!

- Brandon Bennett

Thomas Berdinski is the writer/director/producer of “Zombie Abomination and Zombie Atrocity – The Italian Zombie Movie – Parts 1 & 2". This award-winning, two-part, no-budget homage to (and parody of) European horror movies has played conventions and festivals all over the midwest, has been on television on over 40 channels in 20 states on the Midnite Mausoleum TV show (www.midnitemausoleum.com) and has played nationwide on the interactive Internet show “100 Years of Monster Movies” (www.100ymm.com). Both movies were recently named to FangoriaMagazine’s ‘DVD Chopping List’ (May 2010). Learn more about the Italian Zombie Movies at www.italianzombiemovie.com, FACEBOOK: “The Italian Zombie Movie”, MYSPACE: “Italian Zombie Movie”. Learn more about Thomas Berdinski at FACEBOOK: “Thomas Berdinski” or email him at diretto@italianzombiemovie.com. “Zombie Abomination and Zombie Atrocity - Italian Zombie Movie Parts – 1 & 2” are available at www.italianzombiemovie.com, www.amazon.com and www.indieflix.com and select retail outlets. And more recently his short film "The Giant Rubber Monster Movie," was included on Jabb Pictures 'The Collective' (A collection of 10 short films by 10 directors on one subject). For more info on it, and the soon to be released 'The Collective Vol. 2,' check their website http://www.jabbpictures.com/. Finally, to stay up to date on everything Thomas has going on check out : http://www.facebook.com/pages/The-Cult-of-Moi-and-Vous-Film-Producioni-Company-LLC/157669997630032


1.Your films, The Italian Zombie Movie Parts 1 & 2, have been all over the place the past year: conventions, film festivals, and even allowing horror hosts (such as Midnite Mausoleum) to spin their take on them. What's next? And are there any plans for a third installment?

We've been promoting IZM since it came out on DVD late in 2009 and have attended dozens of conventions and film festivals and have had it screened at dozens more. Horror hosts from all over the country have been incredibly supportive, and let's not forget all the bloggers, podcasters, reviewers and the great horror fans fans who've reviewed (and almost always really enjoyed) our crazy homage to European horror. It's been an absolute blast for us! As the convention season in 2011 comes to an end, we've moved into pre-and-post production on two more movies – both of the horror/sci-fi/comedy variety. IZM 3 is on my radar for sure, but there are some casting situations that have held us back on that one so we're going to make a new short and a new feature first.


2. 'The Giant Rubber Monster Movie', your addition to Jabb Pictures short film collection 'The Collective', has been screening all over the place as well. How did the film, and your addition to 'The Collective' come about?


The film came about when Jason Hoover of Jabb Pictures contacted me and a slew of other indie filmmakers he'd met over the past year about the concept of ten filmmakers each making shorts with the same theme on an anthology DVD. I'd long wanted to pay homage to the Japanese giant monster TV shows I grew up with – Space Giants, Spectreman, Johnny Sokko and so on – and the theme that was agreed to by the filmmakers just happened to fit it! We shot the whole thing in about a month and I honestly couldn't be happier with it. The best part was it allowed me to collaborate with my favorite horror hosts on cameo roles: Marlena Midnite, Robyn Graves, Roxsy Tyler, the Count and Countess Gregula and, of course, the evil Dr. Sigmund Zoid. Dozens more horror hosts let me use pictures of them in an important sequence where Dr. Zoid chooses a monster to destroy the Earth! I have such good memories of that whole experience; especially working with my Italian Zombie Movie cast and crew again and the horror hosts!


3. Over the past couple years VHS collecting has become increasingly trendy. Perhaps because of the rarity of certain obscure films, the love of the artwork, the familiarity, or just a hipster movement that has seen a huge rise in the cost of these films. As a fan of horror, and obscure films yourself, what do you think of this movement?

I am of two minds on this... I love that the old “lost” shot-on-video movies are being recovered and rediscovered, and call me old-fashioned, but just like when albums disappeared in favor of CDs, and CDs are disappearing in favor of downloads, the artwork shrunk when VHS went to DVD (and Blu-ray cases are smaller still) and art-less movie downloads are on the rise! I know, less packaging is better for the environment, but I LOVED the box art! DVD and VHS cases are 80% of the artwork in my home! I think most would agree the picture quality of DVDs and Blu-ray discs are better than VHS, but darn it – I miss the artwork! Give me a DVD in a huge VHS case and I'd be happiest!

4. Who, in your eyes, are some of the most promising up and coming film makers in the realm of indie cinema?

Well, I don't know if he's still and up-and-comer but Larry Fessenden (“House of the Devil”, “I Sell the Dead”, “The Off Season”) is an amazing producer and indie filmmaker who I admire greatly and would love to meet at a convention some day. Of my personal acquaintances, I really enjoy Christopher Mihm's (“Monster of Phantom Lake”, “Attack of the Moon Zombies”) and Christian Grillo's (“Booley”, the upcoming “Deer Crossing”) work a lot and have high hopes for my friend Cameron Scott's upcoming epic “Post Mortem, America 2021”. I could go on and on – I've met so many indie filmmakers who's work just needs to get out there!

5. Being a film maker who has worked basically on no-budget for his films, do you have any tips or helpful advice for aspiring filmmakers?

Too much for one interview – LOL – but I'll try this one. When you're the filmmaker making a low-budget movie, always remember one thing: YOU are the person everyone else is looking to for leadership. Your actors need you to direct them, your technical people need your advice, the guy writing your music needs your critiques. Everyone involved in the film truly needs you so you need to be the last man standing every day. You can't be the one to give up first on a shot or take or a scene. Do it until it's right! You can't appear depressed or disinterested in anything you're working on. You, the filmmaker, are the the heart-and-soul of the movie. The minute you grow weary, everyone around you will lose the energy to continue. Eat right, get lots of sleep, take a Vitamin B complex! Never give up and your movie will be the best it can be. If you expect someone else to supply the energy or the leadership, you will probably be sadly disappointed.

Bonus Halloween Questions

6. What scares Thomas Berdinski?

To this day, the movie “Ghost Story” (1981 with Alice Krige and Fred Astaire) still makes me jump and send chills up my spine!

7. Do you have any Halloween traditions? Or perhaps a favorite memory of the holiday as a child?

My favorite Halloween memory – oh that's an easy one: When I was 11 years old, Jeff Bromley (star of IZM and GRMM) and I were taken by our Mom's to a midnight showing of “Night of the Living Dead” at the very indie theater where IZM premiered all these years later. Our Mom's had NO IDEA what NotLD was, it was the scariest thing ANY of us had ever seen! Both Jeff and I had zombie nightmares for weeks, no months, no years, okay, I even had one last night!

Many thanks to my good friend Thomas for being a part of today's celebration of Halloween here on The Indie Film Revue.

The Mini-View Featuring Jonathan Jones

Facebook: www.facebook.com/mrjones1984
Cluttery Collectables: http://www.ccollectables.ecrater.com/
Slumber's Kiss on IMDB: http://www.imdb.com/title/tt1772355/
Johnathan's IMDB: http://www.imdb.com/name/nm3923234/

Jonathan Jones, 26, was born on November 19, 1984. He made his first stage appearance at five years old. Since then, he made a vow to entertain people for the rest of his life. He enjoys acting, comedy, film making and writing. He also has a passion for business - a trait he picked up from his father. His first Internet business, Cluttery Collectibles, sells comic books, DVDs, video games and fan boy memorabilia.

1. What got you interested in acting and film making? Is there a certain film or actor/actress who inspired you?

I watched a lot of cartoons and movies when I was a kid. Like most children, I often pretended and mimicked several of the characters I paid attention to and I had a very vivid imagination. I loved telling stories and I wrote my first script when I was in kindergarten. It was Super Mario Bros. At a very young age, I entered acting in school and community theatre and found accomplishment in performing for people. I decided this was the business I wanted to be involved in for the rest of my life. Courtesy of Turner Classic Movies, one of the BEST networks the TV Gods ever created, I found an appreciation for black & white pictures around the age of 12 or 13. I met the people who were going to guide me and educate me: (to name a few) Alfred Hitchcock, Cary Grant, Charlie Chaplin, James Stewart, Lon Chaney & Lon Chaney Jr. and Lou Costello. On a modern scale, I’m inspired by (to name a few) Don Bluth, Jim Henson, John Hughes, Martin Scorsese, Steven Spielberg, Tim Burton and anybody else who’ve taken time to study the art and craft of acting & film making. As for what film(s) inspired me: “Who Framed Roger Rabbit” holds a very special place in my heart. I ALWAYS wanted to do a project where I interacted with animation.

2. In Bill Cornelius' short film, Slumber's Kiss, you play Johnny. The character of Johnny is battling separating his real life and the dream world. In this film, you were acting in a world created in animation. What was this experience like?

It was (pause) interesting. It’s amusing because I was with the cast & crew for 4 days in Nashville, TN. This is where Bill Cornelius bases his Lavorsia Entertainment out of. We worked in front of a green screen for 1 afternoon out of those 4 days! The rest of the time was spent filming scenes that happened in the real world. Filming in front of a green screen was a first for everybody on set. It was a HUGE step for us. To be honest, it was the most challenging of the entire experience. I had to walk in place, randomly smack incoming imaginary stars and ignore the fact Karen (aka, Luna) was nowhere near me. I kudos any performer who goes through this on a routine basis.

3. Would you say there is a part of you that comes out when acting, that may not be seen in every day life? If so, what is that side of you like?

I never pay attention to who I am in real life when I’m in front of the camera. I spend so much time preparing for roles that I forgot who I am when I arrive at a filming location. I become the character and stay in character from the moment I arrive on set to the moment I leave the set. My peers have said I am confident when I’m in character, although deep down it can be noticeable that I am freaking out. Because I put so much thought and preparation into character development, I am ALWAYS afraid I will screw up somewhere and disgrace the entire production. I push on because my team at the time needs me, even if my role were a fire hydrant. (laughs)

4. Do you feel that you are much like the characters that you have played? (physically, personality, etc.)

Do you put a bit of yourself into these roles?(laughs) There is ALWAYS a part of me in the characters I’ve portrayed. I LOVE comedy so you will find me in many more comical roles in the future. Most of the roles I choose, however, are roles I can relate to. Take Johnny Nichols (“Slumber’s Kiss”) for example, he fought insomnia. I fought insomnia for several years. I knew what it was like to go an entire day/night without sleeping and having to work the next day/evening. It SUCKS! It can kill a person. His character was also looking for a way out. He was looking for the perfect opportunity to escape from a life he hated and into a life he loved and dreamt about since he was a kid. This was me and still is me today. I’m an entertainer deep down. I feel the need to entertain but I’m still VERY independent *sigh* and working a career I’d rather not be working. Till my big break comes along, I have to keep doing what I’m doing and working the career I don’t want to work because the bills will not pay themselves. Struggle is all part of a starting out artist. Not everyone is Justin Bieber and can make themselves known on YouTube. A lot of us independents have to work for what we want.

5. What is up next for you? Any projects you are currently working on, or have on your plate?

Yes, in fact. In the film universe, I’m writing a comedic short called “Hand Job”. It centers on a silly band designer who’s silly band prototype comes to life and takes control of his hand. I’m also producing and starring in an untitled fantasy short. I’ve been working quite a bit with the writer to pump out a polished script. We scouted a location last Sunday morning for two hours in the rain… that was fun. I uploaded six photo’s from the scout on my Facebook page (facebook.com/mrjones1984) if anybody wants to check them out! I’m also gearing up to film more scenes for a web series called “Comic Book World”, preparing to handle advertising/marketing for a film in Cincinnati called “The Hardship” and continuously auditioning for projects that spark my interest. On a business aspect, I’ve been VERY proud of my Internet store called Cluttery Collectibles. It’s unrelated to film but it’s still a project that’s taking off respectively. You can currently check it out at ccollectables.ecrater.com. I’m also blueprinting a business that will help market independent films so filmmakers can focus on the project and not so much the business aspect of getting their baby “out there”.

Many thanks to my good buddy Johnathan for taking time out of his busy schedule to be a part of The Mini-View.

- Brandon Bennett

the Mini-View Featuring Scott Schirmer

Check out House of Hope on Youtube

Scott's personal website:

http://www.scottschirmer.com/

Scott's youtube channel:

http://www.youtube.com/user/swayland7

FOUND Facebook page:

http://www.facebook.com/pages/Found/145536348844864?sk=wall

Scott's IMDB page:

http://www.imdb.com/name/nm4074758/

Scott Schirmer began his pursuit of writing and filmmaking in grade school, winning prizes in the Louisville Courier-Journal Young Authors Awards and the Association of Indiana Media Educators’ annual media fairs. As a high school senior, Scott wrote and directed his first short video. The piece won regional and state-level prizes before winning 3rd place in the International Student Media Festival, sponsored by the Association for Educational Communications and Technology. At Indiana University, Scott focused on film theory and aesthetics while taking advantage of production courses in radio, film and television. He received excellent marks in screenwriting from playwright Dennis Reardon, a scholarship for his achievements in video art, and a university grant to produce his first feature-length movie.

Over the last ten years, Scott has written and directed six short films and features in various genres. His work has been selected and shown at the Pride, Dark Carnival, Cinephile, and Hometown film festivals. In 2006, Scott’s ten-minute supernatural short, The Day Joe Left, was a top ten finalist in Kevin Spacey and Budweiser’s Triggerstreet.com on-line short film festival.

Scott currently works as video producer for a large publishing company and is gearing up for his next feature film shoot, Todd Rigney’s dark coming-of-age story, Found.

1. If you could pick one film that inspired you to get into film making, what would it be and why?

I love a lot of movies, and I was very impressionable as a kid and a young adult, so a lot of movies helped shape me. My parents told me The Rescuers was my first movie, but the first movie I remember seeing was Star Wars, and after The Empire Strikes Back was released, I made up my mind. I wanted to be a filmmaker, because I wanted to be part of that craft, that art, that showmanship. I’m definitely a product of the Lucas/Spielberg era, but I’ve also been inspired by countless other films and filmmakers. As I grew up, I really latched onto the work of Peter Weir. The Mosquito Coast, Fearless, and Dead Poets Society are among my favorites. And these day’s I’m really fascinated by David O. Russell and Julie Taymor. The challenge growing up is to not let your heroes or idols influence you too much, or you’ll just wind up a pale imitation of them. You have to find your own voice, and at some point start carving out your own niche. I think if you keep working at it, if you follow your muse, it’ll happen. And you might be surprised where you end up. Twelve years ago, I had no idea that I’d get into horror the way I have, but here I am. It feels right for me, for now. And as much as my heroes and idols from the movies have inspired and influenced me, I’m really excited about developing my own voice and my own style right now.

2. What have you found has been the hardest part about promoting your own films?

Promotion is difficult when you’re an independent filmmaker. There are a lot of entertainment options competing for people’s attention, including a glut of independent films these days. It’s hard to stand out in the crowd and grab people’s attention. You have to fight. And you’re only going to have the energy and stamina to fight if you really believe in the movie you’re promoting. You have to love it like a child, because you’re probably going to be making or promoting that movie for at least a year or two. If you don’t passionately love it, you’re going to lose interest. You’re going to get tired, and the movie may not get anywhere because it will have lost its champion. No one is going to be as interested in your movie or promoting your movie than you. If you’re as passionate about the material as you should be, you’re also going to want to take the time, effort, and resources to do everything right. I know indie film making has a tendency to be wrought with compromise, but you have to fight hard to make as few compromises as possible. Two things you can’t compromise - one of the reasons people are loathe to embrace indie films and unknown talent is that indie films, no-budget films, tend to look and sound like crap. So you have to fight that perception if you want to be taken seriously. When it comes time to promote your film, the first and best weapon in your arsenal are your film’s sound and picture quality. People can smell amateur videography and recording a mile away, and they’ll judge your entire film by the first few frames of a trailer if you don’t tackle these issues head-on. There have been incredible advances in technology over the last few years. For under two thousand dollars, you can buy a DSLR camera that Hollywood filmmakers are now using to shoot some of their films. Video isn’t a four-letter word anymore, and it looks amazing. And you can edit entirely from a home computer. The playing field is leveling out, so if you’re really serious about film making, the only things holding you back are your talent and your decision-making. Money’s always an issue, but it’s cheaper than ever to make a movie, and if you want it bad enough, you can save up a few hundred or a few thousand dollars and make it happen. If your passion carries you through, and you do a good job fighting compromise, promotion is going to be a lot easier for you.

3. Historically, Indiana is not well known for film making. What would you say, as a film maker are the limitations and facilitations of working in the state?

I don’t feel limited by making movies in Indiana. I mean, obviously, Indiana isn’t Hollywood, and we don’t have access to many stars or any industry movers and shakers, but if you’re a no-budget or low-budget independent, you can’t really afford take advantage of Hollywood’s resources anyway. And Hollywood doesn’t give anything without taking a lot in return. It’s political. It’s a game. Things rarely ever come to fruition there, and if they do, you don’t usually have much control over how they turn out. I have friends who work in Hollywood and I’ve heard a lot of their stories, and it’s madness. I don’t want to fight to get permission to make the movie I want to make. I don’t want to have to convince anyone of its legitimacy, and I certainly don’t want them interfering with how it’s made. I just want to make the damned thing, and I want to make it my way. And you can do that in Indiana just as easily as you can do it anywhere. I lived in Los Angeles for a few years, and people would occasionally see my movies out there, and they liked them. And then I’d tell them I made these movies with pocket change and tax return checks in Indiana, and their jaws would drop. If you have no money, or very little money as I do, Indiana is where you want to be. People in Indiana are generally very curious and enthusiastic about helping on a movie shoot, and there are a lot of talented people who are eager to build their portfolios or resumes for nothing more than credit and kindness. Hoosiers also have a remarkable work ethic. In L.A., people told me they loved hiring mid-westerners because their work ethic is so much better than other people’s. There’s something great about working with people who take pride in their work, people who have something to prove. That energy and enthusiasm can infect your whole movie, and you’re less likely to find it in a Hollywood crew that’s there to get a paycheck.

4. I read that while a student at Indiana University, in 1995, you received a grant to produce your first feature-length film. Could you elaborate on this.

Indiana University gives grants for undergraduate research. I saw a post about the grants outside the office of the Individualized Major Program, which I was part of for a short time, before I switched my major to Sociology. I don’t know if they still do this, but at the time, you could propose a project or study, and the board would determine which projects or studies they would fund. Since my project was a movie that would employ students, and it dealt with themes of tolerance and diversity, the board decided to give us the grant. I believe it was for $1,500. We used it to buy a steadicam for the IMP’s camcorder (we were using VHS back then!) and it also covered a lot of script printing and copying. The movie was called “Variations,” which we finally completed and showed on campus a year or two later. It was a great learning experience, and I’m grateful to the university, particularly to Joan Hawkins, associate professor in the Department of Communications and Culture, for supporting me in that and many other study projects.

5. Finally. If you could see any film in history remade (imagine that the budget is unlimited): what would it be, who would you cast, and would you direct it or who would you see helming such venture?

With so many remakes, sequels, and movies built around video games and comic books, I’m not too keen on adding to the woodpile, even in my dreams. I don’t feel that Dune, Frankenstein, or the Island of Dr. Moreau have ever been done quite right, and I love all three of those books. But if you want to talk about pipe dreams, I’d have to embarrass myself and tell you the truth: I’d love to make a hard-R, violent, super-sexy, rock-opera version of ThunderCats. I’m not talking about a cartoon here. I’m talking about sexy cat people and gnarly-looking mutants in full body prosthetics, beating the shit out of each other in exotic locales. And an immortal mummy as the big baddie? How cool is that? I think it’d be best to cast unknowns, but I’d try to get Toto, Queen, or Muse to do the score. It would be a flop of Heaven’s Gate proportions, but it’d be bad-ass, and I could die a happy man for having that dream fulfilled. And if I couldn’t be at the helm, my dream director would be Julie Taymor. She’s just crazy enough to do it, too.

• • Thanks to Scott for being a part of The Mini-View!
    
    
    - Brandon Bennett

The Mini-View Featuring Johnathan Moody

Johnathans IMDB page:

http://www.imdb.com/name/nm3145860/

Slick Flick Productions youtube channel:

http://www.youtube.com/user/Sickflickproductions

The Independent Corner (Johnathans Blog Talk Radio Show)

http://www.blogtalkradio.com/jonathanmoody

Trick of Eat page:

http://www.facebook.com/pages/Trick-or-Eat/123783924331857?ref=ts

Echo Lake page:

http://www.facebook.com/pages/ECHO-LAKE/163276730357686?ref=ts

Scream Queen Campfire page:

http://www.facebook.com/pages/Scream-Queen-Campfire/109736235750530?ref=ts

1. At what point did you decide you wanted to get involved in film? Was there a certain movie or filmmaker who inspired you?

Well I always wanted to be an actor. Since I was like 6. And then I wanted to be a writer at the age of 13 when I first started writing what I thought to be scripts which looked just like plays. And then at the age of 15 I watched the movie "Clerks" and found out about Kevin Smith and realized how he put himself in his own films and I wanted to do that. But it wasn't until the age of about 19 that I got my own camera and actually started fooling around with it. And then the obsession and passion went from there.


2. Of all the projects you have worked one, is there one specific that you are the most proud of? And why?

Its hard to say... I'm really proud of Echo Lake right now because its becoming my first feature film. But there's so many scheduling problems and since its such a big cast and there's hardly any money involved its a hard thing to deal with. But all my projects are my babies. I can't wait to delve deep in to Scream Queen Campfire too because thats something I've been wanting to do for years now.

3. If there was any film maker living or dead that you could work with, who would it be?

Robert Rodriguez. A dream of mine would be to write for him and have him direct. Kind of like Tarantino or Kevin Williamson did. Big dreams and hopes but that's what you gotta do these days.

4. I'm sure you have learned a lot working behind the scenes, and being on set of films. What would you say is the most important lesson so far?

Always be prepared. Storyboard, shot lists, whatever. As a filmmaker if you do NOT have these things figured out its gonna take twice as long to get done. Also another lesson is if you're directing make sure to tell everyone every detail you need in the scene so you can make sure you're cast and crew know exactly what to do. Sounds like simple stuff but really its always the simple stuff that everyone forgets.

5. If you could pick any role from any film and recast your self in that role, what would it be?

Jamie Kennedy in Scream. I would have loved to have played Randy. If in Scream 5 I had the opportunity to play Randy's cousin or something I'd go nuts.

Many thanks to Johnathan for joining us this week, and helping me get back on track! Till next week!

- Brandon Bennett

The Mini-View Featuring.... Me. Brandon Bennett

This is a Mini-View I did for my good friend, and author J. Travis Grundon over on his blog site back in December. We talked about it, and decided I should repost it here for anyone who might have missed it.

You can check out J. Travis' blog at:

http://jtravisgrundon.blogspot.com/

My very small IMDB page:

http://www.imdb.com/name/nm3457051/

My youtube account:

http://www.youtube.com/user/diaryofajunkie?feature=mhum

1. I know you enjoyed your time working on Steve Balderson's film Stuck, and I think it was a great movie. Is there a project that you would like to see Mr. Balderson shoot or an idea, book or character you want to work on with him.

Steve is such a talented director, and an amazing person all around. I think the thing I love about his films is that each one has its own feel. Even though they are all so different, there is just something about them that when watching you go “This is a Balderson film”. He talked to me before about how he would love to do a classic themed horror film, very much in the style of the Hammer Films. I know that he also has a sweet spot for Stanley Kubrick’s The Shining. So I guess I would love to see him peruse something along those lines. Perhaps a mix of The House on Haunted Hill, The Changeling, The Legend of Hell House, and The Innocents. Each of those films have ‘that something’ about them that you never forget, which is what makes Steve’s films stand out.

2. In an industry full of remakes and re-imaginings, what remake would you be unable to turn doing, if it was offered to you, or name a remake you would love to do. (Feel free to cast it too)

There are a couple films that I would love to see remade, if staying true to the source material.

The first would be Something Wicked This Way Comes, directed by Jack Clayton (The Innocents, The Great Gatsby) which Ray Bradbury adapted from his own book. The film still holds up quite well, but I would love to see Steve Balderson’s touch on the carnival scenes after watching his film Firecracker.

Second would be the 1976 film Burnt Offerings directed by Dan Curtis, based on the book of the same name by Robert Marasco. Curtis is well known for directing, writing, and being executive producer on the series Dark Shadows (the original, the movies, and the reboot) and directed both of the Trilogy of Terror Films. After seeing Nicole Kidman in The Others, I think she would be perfect in Karen Blacks role in a remake. The beautiful and talented Bette Davis played Aunt Elizabeth, and I think casting Karen Black as that character would be a great tribute to the original.

Lastly, I have always wanted to see an updated version of the 1973 film Don’t Look in the Basement, also known as The Forgotten or Death Ward #13. It was directed by S.F. Brownrigg who also directed Scum of the Earth, Keep My Grave Open, and Don’t Open the Door. All of these films had a certain dirty, gritty, and bleak feeling to them. There was always a certain bit of nail biting and sweaty palms when watching them. Luckily, this is a remake that will be seeing the light of day. Directors Alan Rowe Kelly and Anthony G. Sumner have decided to put their own twist on this story. These are two people that I feel understand the atmosphere in the original. I know my friends Marv Blauvelt and Jeff Dylan Graham are attached to this project along with Debbie Rochon, Deneen Melody, Carl Burrows, and Caroline Williams. This seems like a cast of people who fit a kind of grindhouse feel. It’s a film that I have had a small obsession with since I was young. There is a jealousy in me for everyone working on this. (laughs)

3. As a fan of all kinds of horror films what scares the shit out of you, in real life?

I have two very distinct fears. Strange, but distinct.

The first one is ladybugs. Weird huh? It all stems from when I was a teenager. My family had moved into a new home, I had a basement bedroom, and we had only been living there a few days. I woke in the middle of the night feeling my face itch, I reached over to turn on my touch lamp and found my face was covered in the little bastards! Not just my face, but they were crawling in and out of my mouth as well. It was traumatizing.

It’s funny you mentioned this, because the day you sent these questions I was faced with my second fear: NUTCRACKERS. Holy shit do they terrify me! I was riding in the car with my girlfriend the other day and we made a turn at a stoplight, when to my right there were two four foot tall nutcrackers on each side of a set of stairs. I believe the conversation that followed went something like this, “What the fuck! Oh my god! Are you kidding me? That’s just not even cool! Why would someone do something like that?” About that time my girlfriend, Melissa, tried apologizing saying she didn’t mean to drive by them on purpose. “No. It’s not your fault. What the hell are those people thinking?! That’s fucking terrifying! I don’t even know why the hell they scare me so much but they do! I think it’s those big fucking teeth. I mean come on! What other reason do they need them but to bite your damn nuts off! Look at them! They’re huge! What’s not to be terrified of?” I know I rambled on for at least 10 minutes. Of course my lack of sleep did not help the severity of the problem. Poor Melissa was just about crying she was laughing so hard. So, yeh. Fuck nutcrackers!

4. Besides film making, you are also really into music, but the two go hand and hand a lot...so name your top 5 Movie Soundtracks/Scores

This is a really great question. Tough, but great.

5. Judgement Night (1993)
4. Spawn: The Album (1997)
3. The Crow: Original Motion Picture Soundtrack (1994)
2. Lost Highway (1997)
1. SLC Punk: Original Soundtrack (1999)

A couple other notable soundtracks are:
The Soundtrack to Lucio Fulci’s The Beyond by Fabio Frizzi is just nightmarish. And also, Mike Patton’s side project Fantamos’ 2000 release Delirium Cordia. This album is like listening to a horror film. The first time I heard it I was alone in my car driving from where I was living in Evansville, IN to my parents place in Petersburg. It was about midnight and pitch black outside. The album is 1 hour and 14 minutes long. I slept with the lights on that night!


5.You have a blowup doll, a copy of Purple Rain, a hammer and a bottle of whiskey...what are your plans for the night?

Hmmm.. Let’s see. I’ll be downing the whiskey like it’s Kool Aid, beating the blowup doll in its orifices with the hammer, while watching Purple Rain.

Many thanks to J. Travis for giving me the pleasure of being Mini-View'd!

The Mini-View Featuring Jim O'Rear

Jim's Demo Reel

Check out Jim's official website for more info:

http://www.jimorear.com/

Jim's IMDB page:

http://www.imdb.com/name/nm1252668/

Pick up a copy of Jim's book Tennessee Ghosts:

http://www.schifferbooks.com/newschiffer/book_template.php?isbn=9780764331183

This week I was lucky enough to get the multi-talented Jim O'Rear to take a break from his very busy schedule to answer a few questions.

Jim O'Rear has been involved in the entertainment industry for over twenty five years, beginning his career on tour as The Youngest Professional Magician with David Copperfield, Harry Blackstone Jr., and The Great Tomsoni and opening for acts like Cheap Trick and John Anderson.

With his "magical" background and having been trained in New York at The American Academy Of Dramatic Arts, it was only natural that Jim move into the realm of film, television, and theater where he has worked steadily as an actor, stuntman, and special make-up effects artist on such projects as Day Of The Dead, Star Trek 4, The Vampire Wars, Lethal Weapon 3, Creature Feature, Hayride Slaughter, Cop & A Half, Psycho Beach Party, Evita, Little Shop Of Horrors, No Retreat No Surrender 3, Mortal Kombat: Conquest, and many more with actors including Martin Sheen, Burt Reynolds, Mel Gibson, Amanda Plummer, Maximillian Schell, Robert Englund, Jon Voight, Chris Sarandon, and others.

Wanting to get some of his own ideas onto the screen, Jim successfully moved into the area of screen writing. Although competition is tough, he has written and sold a number of horror-related screenplays, including The House Of Pain (in development with Robert "Freddy" Englund, Gunnar "Leatherface" Hansen, Tom "Friday The 13th" Savini, Bill "ChopTop" Moseley, and Debbie "Scream Queen" Rochon), Hayride Slaughter, Hayride Slaughter 2, The Deadly Obligation, Vampyre Tales, and (currently in production) Wolfsbayne. Jim also placed third in 2003 for Best Screenplay in TSA's screen writing competition and is a current finalist for Best Screenplay in the Fade In Screenplay contest and Writer's Network competition. Pre-production has just begun in Los Angeles on his new screenplay, The Demons 5, featuring an all-star horror cast.

Currently, Jim continues to work as an actor and stuntman on several films per year, recently acting in a new Manson-based movie with Linnea Quigley titled Miss Maniac, making a cameo in the upcoming horror film Skarecrow, playing a zombie slayer in Dead End, portraying an alien bounty hunter in It Came From Trafalgar (with Butch Patrick and Gunnar Hansen), pulling double duty as the star and martial arts stunt coordinator on The Corruptors, starring with Lynn Lowry in a follow-up to the cult classic I Drink Your Blood called It Feeds, appearing in Day Of The Axe with Tom Savini, and is in development deals for three more of his screenplays. Jim's production company, Underground Entertainment, is turning out Haunted Industry magazines and how-to books as well as a new haunted house how-to video and DVD series. As if that isn't enough, Jim continues to write for horror publications all over the world and consult for horror-related projects internationally.

1. Having got your start in film as a stunt man, with years of training in several forms of martial arts, do you have any one incident/accident that may stand out more than others?

Yes. It would probably be the one time I got seriously injured. It was on the set of THE VAMPYRE WARS with Robert Englund (NIGHTMARE ON ELM STREET), Chris Sarandon (CHILD’S PLAY, FRIGHT NIGHT), Amanda Plummer (PULP FICTION), and Maximilion Schell (A BRIDGE TOO FAR). There were some pretty rough stunt sequences in that film and several stunt guys got injured and received broken bones.
It was a fight scene… a flashback to the Holy Wars… with swords and staffs on horseback. Long story short, I ended up with my spine twisted and pulled out of place.
The sad thing is, Universal still hasn’t released the film so the stunt guys who got hurt can’t even see the sequences that they were injured in.


2. Besides working in film, you have also released a book titled Tennessee Ghosts. How did this come about?

I’ve always been interested in the paranormal and have hunted ghosts as a hobby in my spare time for many years.
I was appearing as a guest at DragonCon, in Atlanta, and a publisher who knew my writing from screenplays and various magazine articles approached me and asked me if I wanted to write about my paranormal experiences in Tennessee. I knew that if I didn’t do it, someone else would. So, I agreed.
The book has done very well and they will be publishing a new paranormal book I’ve written later this year titled Hollywood’s Paranormal Movies.


3. Looking back over your film history, what one film stands out that you learned the most from?

You really learn something on all of them, but it would probably be a couple of films I produced titled THE DEEPENING and SCREAM FARM. I guess I learned the most on them because I wrote them, produced them, directed them, cast them, acted in them, edited them, etc etc etc etc… I was, basically, forced to learn every aspect of putting a film together from start to finish, as well as the marketing and distribution headaches that come after the film is done.


4. If you weren't so heavily involved in film, and were to fall back on a past career which would it be and why?

Not that it’s a drastically different career path, but I would love to go back into live theater. I spent many, many years as an actor and director of plays and musicals. There’s nothing quite like live theater.

5. Working in horror, what truly scares the hell out of you in life?

That commercial with the talking babies.
Just kidding….
I’m not easily intimidated or scared by much of anything. I suppose I’m just desensitized to a lot of things due to my experiences in horror entertainment and the paranormal.
I guess if I had to pick something… and I’m completely serious about this… it would be chickens. They creep me out, man.

Many thanks to Jim for his time!

- Brandon Bennett