Thursday, January 26, 2006

Rob Zombie's at it again.

Saturday, January 14, 2006

MO Film Tax Credit Threat.


By Mike Ketcher

The Missouri Department of Economic Development (DED) has proposed that the Film
Production Tax Credit be abolished. This would destroy the fledgling feature film
industry in Missouri. Without the tax credit, few film producers would choose to
come to Missouri. This would be financially devastating to hundreds of small businesses
and film professionals in Missouri.

I've looked at the DED's report; it ignores crucial economic data. The
DED's entire report on the film tax credit is just four short paragraphs.
Here it is:

"Purpose: Facilitate film production in Missouri, resulting in increased
economic activity.
"Analysis/Comments: While beneficial in their level of public interest and
notoriety, film projects have a very short-term benefit. The fiscal impact
is low.
"Results: The amount of redeemed credits in FY05 was $322,079.
For FY04, there were three projects that created $2.1 million in film production
expenditures, with $423,900 in redeemed tax credits.
"Recommendation: Enact legislation to delete. The annual cap
is currently $1.5 million."

That's it -- the entire report from the DED. There are
several problems with this report, besides the fact that it's thin, superficial,
misleading, and contains no supporting data for some of its key assertions.

First, it says that "the fiscal impact [of film projects] is low," but
offers no documentation to support the statement. In fact, it ignores the broader
economic impact -- the "ripple effect" -- of film expenditures. When
a dollar is spent on a film production it sends ripples throughout the local economy,
just as a pebble dropped in a pool of water sends out ripples.
Dollars spent with local production professionals, hotels, restaurants, retailers,
rental companies, gas stations, and others directly associated with the production
take their money and spend it with other local businesses, who spend it with others,
and so on. The governor of Texas, Rick Perry, recently issued a press release saying
that "every $1 spent on film production generates $2 to $5 in revenues to the
local economy."

There's no reason to believe that the economic impact would be any different in
Missouri. Thus, a relatively small $2 million film, such as last year's "Saving
Shiloh,' shot in and around Eureka, just outside of St. Louis, might generate anywhere
from $4 million to $10 in economic benefits to the community. The Missouri DED's
report ignores these benefits.

This month, "Killshot," a film starring Diane Lane and Mickey Rourke,
is shooting in Cape Girardeau for four days. The film will employ nearly 200 Missourians
-- for time periods ranging from one month to one day. Substanial money will be
spent for hotels, restaurants, car rentals, and other goods and services needed
for cast and crew. It will be a boon to the city of Cape Girardeau. Were it not
for the tax credit, these scenes most likey would have been shot in Canada, where
the rest of the film was made.

Second, the DED report says that "film projects have a very short-term benefit."
This too is unsupported by any factual data, and simply not true, based on recent
experience in Missouri. Take the 2003 film, 'Larva," produced by the Sci-Fi
Channel and shot in Springfield, MO. The Sci-Fi Channel returned in late 2004 to
shoot another film, "The Black Hole," in St. Louis. Had they not had
a good experience in Missouri with the first film, they would not have returned.
When a satisfied film producer returns every year or two with a new project, that's
just one of the many examples of a long-term benefit. What's more, local cast and
crew members gain important experience, knowledge, and contacts from each production
that will serve them well into the future. Again, these are all long-term benefits.

What the DED doesn't understand is that filmmaking has a snowball effect. As the
industry takes hold in a state, it gains momentum. Word spreads throughout the
industry that a particular state is a good place to do business. States like Louisiana,
Texas, New Mexico, Pennsylvania, and Maryland have seen explosive growth in their
film industries after introducing their tax incentive programs and making efforts
to court filmmakers. Yet, there's no evidence that the DED examined the successful
programs offered by other states to see how Missouri's might be improved.

Third, when the DED looks at the results of the film tax credit, it appears they
completely ignore the FY2003 results, which included the $25 million budget film,
"Game of Their Lives," shot in St. Louis. Curiously, the study only mentions
the 2004 results and only part of the 2005 results, leaving crucial data out of
their analysis. The credit has been around since 1997 -- and the DED ignores other
projects that took advantage of the credit.

The conclusion reached by the DED makes no sense. If their contention is that the
tax credit was not producing the desired benefits, then they could just as easily
have recommended that the tax credit needs to be improved, expanded, and publicized
more -- not eliminated. In fact, this is the direction most states are going.
Several states have recently expanded, or have proposed expanding, their tax incentives
to film producers. These include Illinois, Oklahoma, Tennessee, Maryland, and Idaho.
To remain competitive, Missouri needs to expand its tax credit for films, not eliminate

Eliminating the tax credit would hurt many small businesses, including the hundreds
of small businesses listed in the Missouri Film Office's Production Guide (,
as well as dozens of local actors, many of whom get small parts in locally-produced films.
It would cripple, if not destroy, feature film production in the state. It would
also hurt commercial production, as large commercial producers can also avail themselves
of the credit.

On the other hand, retaining and improving the tax credit would raise the profile
of Missouri as a prime filmmaking location. It would benefit the hundreds of Missourians
who earn all or part of their livelihood by working on films.

A film production also raises the profile of the community, encourages tourism,
and gives the world a glimpse of what the state have to offer. It's free advertising
and publicity for the state. Again, this is a long-term benefit.

What's more, this tax credit costs Missouri taxpayers nothing. It simply allows
the holder of the tax credit to reduce his tax liability. It doesn't raise government
spending, nor does it increase anyone's taxes. It is not a "subsidy."
Filmmakers do not receive any money from the state under the program. In short,
it's a win-win government program.

Clearly, the tax credit for film production needs to be expanded in Missouri, rather
than eliminated. Missouri needs to move forward, rather than backwards. If you
agree, you can let the governor know exactly how you feel about the DED's proposal:

Office of the Governor
Room 216, State Capitol Building
Jefferson City MO 65101
Telephone: (573) 751-3222
You can e-mail the governor by going to the following web site:

Mike Ketcher is a St. Louis-based actor and writer. You can reach him at: Permission is granted to reprint this article, and
you're encouraged to send it to others.

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Monday, December 12, 2005

Hostel-Quentin Terentino
Hit the title (it's a link), or cut and paste this url to view
his latest. Be sure and check out the Eyebalz clip.

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Friday, December 02, 2005

Hillarious if it weren't so sad vid clip #1

or do a google search...the internet has gone wild with this segment.

Or... click the title it's a link.

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Thursday, December 01, 2005

King Kong Trailer

My friend Horrid Goblin has a movie thread over at biff's tmbg's webspot. He's rocking over there.
So, I borrowed this (and other stuff tonight) that he's turned me onto. I've been to busy to even realize what's going on!
Thanks Horri!:)
Jack Black is in the new King Kong, it's so gonna rock!!!!
(cut and paste or hit the title, it's a link.)

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Audio funny #1

Remember that chick from Swapping spouses? Well, they made an mp3 out of her lunacy. OMG! Funny bunny:
Or click the title (it's a link).

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Check the Music Vid #1

Thanks Horrid Goblin, I do like it.:)
(Click the title, it's a link.)

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Thursday, November 10, 2005

Check the Shorty #3

"Eat My Dear", is a recently founded Motion and Design studio out of Austria. This shorty link is to a music video from their site called, "Colourcollision"- AWESOME!
(Click the Title link up above)

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Check the Shorty #2

This one was posted on the St. Louis Film wire by, Paul Jove (Pituko), I'm not sure who's responsible for it yet but,
it's pretty cool. It get's better as it goes.
(Click the Title of this post to view).

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Tuesday, November 08, 2005

STL International Film Fest is on.

Nov. 10th-20th.
The title link will guide you the schedule and more info.
If I can decide what night to attend, I'll be back with a
short review.

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Monday, November 07, 2005

Voodoo Air time

I missed seeing this live (we were attending Uncle Sam's annual Halloween Party).
They played "Cadaverous" at the Voodoo Lounge in the Casino on Halloween night during the Monster Ball!
Technically it's not "our" movie, it's Raven Lunitics (writer, director, makeup).
I was just the PA/Actress and the one who introduced Lunitic and his crew to MATT G. (DP, Lighting, Editor, Godsend!).

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Sunday, November 06, 2005

LU Media Workshop #1 (St. Charles, MO)

LU Media Workshop: Griping Techniques & Camera Assisting.
On thursday, Nov. 3rd, 2005, Lindenwood University held the first in a series of
workshops covering Video Production. Lindenwood University’s extremely valuable (and FREE) Professional media series is off and running, and it's not to be missed. On Thursday, Coordinator Peter Carlos introduced DP and former Key Grip Dave Edgar, Director of Video Production, from Brown Shoe Company, covered the basics, and more, of Gripping techniques and Camera Assisting.
Edgar worked on 12 Monkey's (that's right a Brad Pitt flick!), several Carlos Santana music videos, and many other exciting projects that would make any newbie drool, and even some not so newbie’s. Edgar covered everything, from what a grip's toolbox should hold to how “not” to look like an idiot on your first job. He also hauled in a good portion of his own gear for some serious visuals and, as if that weren't enough, Dave Edgar also had his gear trailer parked outside. After the discussion, the trailer was opened up, for all who attended to tweak out on with flashlights. What a treat, and talk about hands on.
But, that's not all. Carlos handed out door prizes, and several lucky attendees got to
leave with a new CD or DVD. The attendees were just as cool. There was also a handful
of students and grads, from Lindenwood and Webster Universities' communications and
film departments, along with several VP addicts, who are already making waves on the
Indy scene.
Michael Lowhorn, formerly the Director of Photography with 88mm Productions, on productions
like "Amphetamine," ( review/vhs/amphetamine.php), was among the ranks, sharing his knowledge and keeping it real. If you stuck around you could of heard some juicy little teasers on his next project.

Key Grip Extraordinaire Bobby Kirk dropped by and added some great hints about set protocol. His finance’, Producer Lori Remmel, told spoke of her production experiences on Nelly music videos.
Richard Novosak, from Pay as you Go Productions ("Electric Zombie"), was there as well, dropping hints about his thoughts and ideas on a possible sci-fi horror screenplay.
An Ambient Studio's associate was also in the house, as well as several other independent
artists. It was a networking fools paradise, especially if your curious about who's working on what, with whom, using what, and where, as well as what kind of budgets are going on.
It’s rumored that the next gathering will be an “Actors' workshop” (you do not need
to be an actor to attend). If everyone involved in a production understands each
other, that’s all the better. For anyone interested in getting in on some action, this
series of workshops can be very beneficial. Not only are the presenters extremely
knowledgeable on the St. Louis scene, but Hollywood as well (and there were many
jokes about Philly, but you had to be there).
Further information on this colloquial series, will be announced on the slfilmwire by Peter Carlos. So keep your head up, eyes open, and see you there.
~Sandra Thomas

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Friday, November 04, 2005

Check the Shorty #1

Matt G. shared this one with me and I love it. So, I've decided to start collecting links of awesome shorts that display the use of some new cool application, or that are just freaking entertaining. Now I can just view them whenever I need a head change. Here is # 1:
(Just click the "Check the Shorty #1" title/link up above)

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Master of Horror Series and 'El Superbeasto w/IDT

Annual Report

November 03, 2005 12:31 PM US Eastern Timezone

IDT Entertainment to Acquire Australian Distributor Imagine Entertainment; Company Will Have Home Entertainment Distribution in Virtually All English-Speaking Territories Worldwide

NEWARK, N.J.--(BUSINESS WIRE)--Nov. 3, 2005--IDT Entertainment today announced that it has agreed to acquire a major Australian-based independent distributor of theatrical, video, and DVD product, Imagine Entertainment. Imagine will benefit from the assets and worldwide recognition of IDT Entertainment's home entertainment subsidiary, Anchor Bay, an established leader in the field that boasts an expansive selection of theatrical films, television series, and children's and fitness titles. The acquisition is expected to close during November. IDT Entertainment is a subsidiary of IDT Corporation (NYSE:IDT, IDT.C), an international telecom, entertainment, and technology company.

"This acquisition is the perfect example of our overall business strategy," said Morris Berger, CEO, IDT Entertainment. "In just over three years, we have become a global entertainment force with proven strength in the technology, production, and distribution of entertainment product. This acquisition completes IDT Entertainment's expansion into virtually all English-speaking territories. It also provides additional consumer outlets for our burgeoning catalogue of entertainment assets."

Established in 2001, Imagine Entertainment distributes award-winning home entertainment product to both the Australian and New Zealand rental and retail marketplaces. Led by Managing Director John Vale and Marketing Director Marilyn Greig, the company's releases include the Sundance Film Festival "Grand Jury Prize" documentary finalist "Unknown White Male," the romantic comedy "Marilyn Hotchkiss' Ballroom Dancing and Charm School," which stars Marisa Tomei, Robert Carlyle, Danny DeVito, John Goodman and Sean Astin, the outrageous "Zombie Honeymoon" and the new clay-animated comedy, "Disaster." Imagine's current slate includes additional seasons of the hit prime-time series "C.S.I.," the Emmy Award-winning telefilm "Life with Judy Garland: Me and My Shadows," the "Doc Martin and Wrong Coast" TV series and the Kid Tuff banner, which includes the IDT Entertainment titles, "Popeye's Voyage" and "Inspector Gadget's Biggest Caper Ever." Future rental releases include the Michael Keaton-starrer "Game 6" and the Edward Furlong thriller, "Cruel World."

"IDT Entertainment is the perfect home for Imagine Entertainment," stated Mr. Vale. "We expect our position in the marketplace to expand rapidly based on Anchor Bay's aggressive acquisition strategy and premium quality IDT Entertainment properties, such as the highly-anticipated 'Masters of Horror' series, Harry Connick Jr.'s 'Happy Elf,' the upcoming release of 'Spawn' and Rob Zombie's first animated film, 'El Superbeasto.'"...

"Combining John Vale's experience with Anchor Bay's existing product and IDT Entertainment's strength will produce excellent opportunities in this market over the next few years," said Ted Green, CEO, Anchor Bay Entertainment.

IDT Entertainment is a vertically integrated entertainment company that develops, produces, and distributes proprietary and licensed entertainment content. IDT Entertainment is a subsidiary of IDT Corporation (NYSE:IDT, IDT.C), an international telecom, entertainment, and technology company.

Anchor Bay Entertainment, an IDT Entertainment company, is an established leader in the field of home entertainment. The company offers an expansive selection of award-winning, notable theatrical films including "Time Bandits" and "Halloween," classic television programming such as "Roseanne," "3rd Rock from the Sun," "Three's Company," "Highlander" and much of the Stephen J. Cannell library, traditional children's fare featuring the ever-popular Thomas & Friends collection and Mister Rogers Neighborhood, the impressive Manga anime line and chart-topping fitness titles including the "Crunch" and "For Dummies" series. Anchor Bay Entertainment is aggressively developing a wide range of original programs and concepts in addition to licensing existing brands and films.

Important Note: In this press release, all statements that are not purely about historical facts, including, but not limited to, those with the words "believe," "anticipate," "expect," "plan," "intend," "estimate, "target" and similar expressions, are forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. While these forward-looking statements represent IDT's current judgment of what may happen in the future, actual results may differ materially from the results expressed or implied by these statements due to numerous important factors, including, but not limited to, those described in IDT's most recent report on SEC Form 10-K (under the heading "Management's Discussion and Analysis of Financial Condition and Results of Operations"), which may be revised or supplemented in subsequent reports on SEC Forms 10-Q and 8-K and other filings IDT may make with the SEC.

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Thursday, November 03, 2005

No Rejection for this Devil.

(Taken from News & Issues-New York, Ny...some article on some website)
No Rejection for this Devil
Despite depicting the devil’s disciple and part of an unholy trinity in Rob Zombie’s The Devil’s Rejects, actor Bill Moseley is now acting in… drum roll, please… a Christian thriller.
Seems a lot of horror folks are jumping on God’s bandwagon these days, what with Anne Rice’s new novel on Jesus Christ, religious horror series like Carnivale, Revelations, and Point Pleasant. (No doubt, the Church can attribute their newfound screen popularity to The Da Vinci Code. There’s no such thing as bad publicity, right?)
Read on...

Moseley is currently in Poland shooting Three, the cinematic adaptation of Ted Dekker’s suspenseful novel published by WestBow Press (a specialty Christian publisher).

Publisher’s Weekly described Three as a “psychological Christian thriller about Kevin Parson, a 28-year-old seminary student who suddenly becomes the target of an evil nemesis called Slater.” Get it? Christian… Slater? “Obsessed both with Kevin's downfall and the number 3, Slater initiates a game in which Kevin must answer riddles to avoid Slater's destructive, potentially murderous retribution. Slater particularly wants Kevin to publicly confess a secret sin, and Kevin is at a loss as to what that sin might be. Once Dekker establishes this premise, he masterfully takes readers on a ride full of plot twists and turns.”

Moseley plays Slater and he told me, “There’s no swearing in this one.” Amen to that. [Photo: Enzo Giobbé /]

As for the other Rejects, in exclusive interviews I did with Sid Haig and Sheri Moon Zombie, they revealed that they, too, are looking forward to diverse futures in acting now that their iconic characters Captain Spaulding and Baby are laid to rest.

Zombie is going to be acting in her husband’s next film — one of three screenplays he’s currently working on, and Haig is starring in Little Big Top. Even though he plays clown in the upcoming film, Haig said, “This is not going to stereotype me as a clown. Because the guy could have been anything in a story like this with a circus theme. It’s a story about the man, not the man who is a clown.” I suggested it would have been cool for him to be the bareback rider then, but Haig didn’t think that was too funny!

Look for a lot more on The Devil’s Rejects here in the days to come — the DVD is out in stores on Tuesday, November 8, 2005 and I have a lot to say about it.

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Tuesday, November 01, 2005

DR DVD w/ The Making of!

(Taken from the Fangoria website)


Mike sez…

MOVIE: 3 and 1/2 stars
DVD PACKAGE: 4 stars

I don’t believe I’ve ever seen a documentary that better captures just what a long, involved yet rewarding and satisfying experience making a movie is than the 145-minute 30 DAYS IN HELL, which comprises the entire second disc of the DEVIL’S REJECTS two-DVD set. From the offices where Rob Zombie and company first broke down the script to the helicopter from which the aerial shots of the Rejects’ car was filmed, there’s nowhere that the cameras weren’t given access, and what they captured has been expertly assembled into a day-by-day chronicle of the making of Zombie’s startling and stunning follow-up to HOUSE OF 1000 CORPSES. With this release, the year’s best horror film has now been given the year’s best DVD treatment of a new fright feature.

Any genre fans who missed this one in theaters—well, they have some explaining to do, but they won’t miss much in viewing the disc’s exemplary 1.85:1 transfer. The sun-blasted exteriors, shadowy interiors and morbid colors are all replicated with razor sharpness and perfect clarity. And as befits Zombie’s background, the DTS-ES 6.1 and Dolby 5.1 Surround EX soundtracks rock, punching across all the screams, audio mayhem and perfectly chosen ’70s rock songs. This edition is the unrated Director’s Cut but, frankly, I couldn’t spot too many differences from my recollections of the surprisingly intense and graphic R-rated theatrical version. There appears to be a little extra grue added to the roadkill aftermath scene, for example, but I’d have to do a side-by-side comparison with the R-rated fullscreen disc that has also been issued, and really, who’d even want to bother touching that one?
(Read on...)

And the transfer quality is just the beginning. There’s so much good stuff here that it’s hard to know where to start, but let’s begin with the deleted scenes. Way too often this sort of material is negligible, revealing only that it was better off excised, but there’s meaty stuff here, most notably a complete hospital setpiece with a bedridden Dr. Satan and a nurse played by Rosario Dawson. On the lighter side, there’s a fun bit in which Michael Berryman discusses the sexual possibilities of corn. Equally amusing is a collection of bloopers (including some from the cut sequences), among them a wet outtake from Mary Woronov’s murder. Then there’s the full Morris Green Show, chock full of pop-culture shtick as Daniel Roebuck’s talk-show host spouts off about WELCOME BACK, KOTTER and other threats to America’s youth, a couple of Captain Spaulding ads and a vintage video of Buck Owens’ soundtrack song “Satan’s Got to Get Along Without Me.”

On a more serious note, there’s a brief, moving tribute to towering Tiny actor Matthew McGrory, who died earlier this year, combining interview and on-set footage. In a nice touch, a dedication to McGrory has also been added to the head of the end credits on the feature itself. A makeup test section (which plays without audio) mostly spotlights the straight makeup applied to various actors, but stick through it for a better look at the Dr. Satan prosthetics. Cheerleader Missing—The Otis Home Movie adds an extra bit of disturbing mayhem, styled as Super-8 footage of Bill Moseley’s character attacking a young victim, and this part of the supplemental package is topped off by a good collection of stills, trailers and TV spots.

Oh yes, and then there are a pair of commentaries, one by Zombie and the other by stars Moseley, Sid Haig and Sheri Moon Zombie. The writer/director’s talk is thorough and informative, and shot through with plenty of humor as well; recalling that Moseley originally wanted Otis to get out of bed naked and stay that way through the opening shootout, he says, “I didn’t feel like dealing with a nude Bill Moseley all day long.” He notes that he did have to deal with porno shoots he stumbled upon while preparing this movie (and HOUSE), and shares plenty of details about his influences and filming techniques. And he clarifies the chronology of his pair of features, noting that REJECTS takes place in 1978, eight months after the events of HOUSE.

With so much production info in Zombie’s monologue and the documentary, the three leads are free to just have fun on their own commentary, and it’s contagious. While there are a few fresh insights to be gleaned here—like the particular lines they came up with in rehearsal, including the “Tutti-f**kin’-frutti” bit—the experience is mostly like hanging out with the actors and enjoying their observations about the movie and their collaborators. They clearly enjoyed themselves on the shoot—even if filming some of Otis’ more violent and abusive moments freaked Moseley out, and Moon Zombie was a little intimidated by co-star William Forsythe. She also admits that there are certain scenes in the movie she still can’t watch!

And then there’s 30 DAYS, which by the end will have you feeling like you went through the production along with the filmmakers and cast. We get to see auditions (including Priscilla Barnes reading for the role eventually taken by Ginger Lynn Allen—who, we learn, did her sex scene with Haig with an injured leg) and quick portions of a table read of the script. That one looks so entertaining, one wishes the whole thing could have been included here somehow. When lensing begins, every significant member of the crew has a chance to discuss their involvement—from cinematographer Phil Parmet, who was hired for his documentary experience, to production designer Anthony Tremblay, who came on board a week before filming started after his predecessor left the project. There are all kinds of neat little nuggets, like Parmet taking digital photos, treating them on a computer and sending them to the lab to show the techies there just what look he wants in the final footage.

Of key interest to genre fans will be sections devoted to Wayne Toth’s makeup FX and Kane Hodder’s stunt coordination. Ironically, one of the closest examinations of the former’s work is in the segment detailing the aforementioned Dr. Satan attack; we’re also shown step-by-step how CGI augmented the gory moments. We also witness Hodder applying his expertise to making the film’s fights look convincingly brutal, unrefined and, as Zombie describes them in his commentary, “sloppy.” And the slugfests are the only facet of THE DEVIL’S REJECTS—the movie or the DVD—where that description even remotely applies.

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Tuesday, October 11, 2005

The Dead Hate the Living

Interview conducted by Caretaker, from, w/ Dave Parker, the first time director of, "The Dead Hate the Living".

"When I was at Fango back in January, I had the opportunity to meet and hang out with Dave Parker, director of the new video release from Full Moon Pictures, "The Dead Hate The Living". After a long night of alcohol abuse and traipsing through the streets of NYC, I got a chance to get to know Dave and understand his undying dedication to the genre we all love, horror. He is a hardcore fan and it is quite evident in his first feature film, "The Dead Hate The Living". The following interview was done just a few days before the video release. (Read more or click the title link to visit

Caretaker: Tell us a little about yourself and how you got the opportunity to make "The Dead Hate The Living"? How were you finally able to make a good Full Moon movie???

Dave Parker: Well, I grew up in Vermont and have loved monsters since I was a kid. I really got into horror movies in 1982 when I saw Creepshow. That movie changed my life, because it was the first movie that made me notice camera angles and lighting, and special effects, because it was so exaggerated. Jump to when I was 18, I went to USC film school and then started to work on independent movies with directors like Jeff Burr and David DeCoteau. Through them I met people at Full Moon Entertainment (which has now become Full Moon Universe). I got a job as a promotions assistant, and then worked my way up the ladder until I became the head of promotions (cutting all of Full Moons trailers and videozones). I had been bugging Charlie Band about directing for a while, and then finally (David DeCoteau, believe it or not, told Charlie that it was time to let me direct a movie, and Charlie agreed) I got Dead Hate the Living.As far as making a good Full Moon movie (haha)! Well, honestly my approach was to make the most un-Full Moon movie I could. What I mean is, that I wanted a movie that felt as much like a real movie as I could make it. No small creatures and no soap opera like plots. There was a script before my version of Dead Hate the Living that was totally by the numbers and I didn't like it at all. Luckily, Charlie Band gave me enough freedom to write what I wanted and so I came up with what is now the Dead Hate the Living.I do have to give Charlie credit though, he was the one who thought of the title, and I feel that alone would rent and sell videos. It is a fucking great title.I have to say, I don't really get all the small killer dolls and creature stuff, but the man has really built an empire from it (for better or worse) and I have to give him credit for that. Whether horror fans like the PuppetMaster series or not, they do know about them. Anyway, I got to write the movie I wanted and tell the story I wanted, which is very different from the usual Full Moon fare, because it is very referential about the low budget genre, and I am very happy with the way it turned out. Also I have to say that Charlie Band really left me alone on this thing. I made the movie that I wanted and that does not happen usually. He knew I wasn't going to make a crappy movie and trusted me enough to see it through, so I do owe him that.

Caretaker: As a fan, what are your favorite horror films???

Dave Parker: People ask me this all the time. It's a hard question. I love PHANTASM and THE EXORCIST, as well as SUSPIRIA, TEXAS CHAINSAW MASSACRE, RETURN OF THE LIVING DEAD, DAY OF THE DEAD, The hammer films, the Universal monster movies, THE FOG, ROSEMARY'S BABY, HOUSE ON HAUNTED HILL (the William Castle version), THE TINGLER, CREEPSHOW, so many...

Caretaker: Who are your influences as a filmmaker??

Dave Parker: My favorite director is John Carpenter, because he really deals with characters and story very well. I also love Don Coscareli because he has created a world for his mythology (which is not an easy thing). I also love Cronenberg, Romero, Burton and Lynch because they all have their own stamp on their movies. They are always doing different and challenging movies that push the boundaries of what people think they can do. Lately, I've been really impressed by the director of OPEN YOUR EYES AND THESIS (2 great movies that any genre fan should not miss) as well as the director of RUN, LOLA RUN - these guys are really amazing and bring together visual style with strong story telling. If you don't have a good story then you don't have anything.

Caretaker: What was the best part about making "The Dead Hate The Living"??

Dave Parker: The best part of making the movie was the cast. We have really become a family. My best friends are the stars of my movie. We've become very close and hang out all the time. All my best times on set are connected with them, and I realize that is a rare thing. I've been very lucky in this business to know people such as Jeffery Combs and Ashley Laurence, but I never been in a situation that I am now, where we are trying to find a project for all of us to work together in again. It's just something very special that I've been able to share with a few people - the cast and some effects people and Hal Satan of Penis Flytrap. I've made friendships on this film that will last me forever.

Caretaker: What does Lucio Fulci mean to you??

Dave Parker: Fulci had great atmosphere in some of his movies. I know I might sound like and asshole for this next statement, but I really feel this (and realize that I own the Fulci book, most of his movies - on laser disc, as well as posters etc), but I think even he would be surprised at the level of devotion and tributes that his work has gotten since his passing. I think Fulci did a lot of movies for the money. He was a working filmmaker in many ways the American equivalent would be someone like Fred Olen Ray. Now I know I've really pissed people off with that one, but there are a lot of Fulci movies that horror fans have never seen and probably won't. When I compare him to someone like Fred Ray all I mean is that he probably made some movies for the money, but he will always be remembered for those few that he made and really cared about. Fulci had real talent that I think he only got to show a glimpse of it in movies like THE BEYOND - but what a glimpse. He will always have a following because it really seems like at times he was fearless, and there are not many out there who are. To me, Fulic brought me some great movies that I will always love, and he should never have felt overshadowed by someone like Argento - who is still alive and cannot come close to grasping the brilliance that he once was. I love Fulci, and wish he was still here so I could have met him. I hope people understand where I am coming from.

Caretaker: Talk about all the references/tributes you put into "The Dead Hate The Living"?? Was it important to you to paid homage to your favorite films and directors???

Dave Parker: For me, the whole nature of The Dead Hate the Living! was to pay tribute to the people that have influenced me as a filmmaker. I learned from them and because of the nature of the movie (about horror film makers) it only made sense to put references in. Also I thought it would be fun for the hardcore horror fans to see that someone that dug the stuff, like they did ,go make a movie and give credit where credit was do. It was fun and I think makes the movie that much more enjoyable for those who get the references.

Caretaker: So I hear that you made your actors watch some horror films before the shoot, what'd they watch and did you create any new horror fans??

Dave Parker: I showed my cast stuff from Gates of Hell, Return of the Living Dead, Texas Chainsaw Massacre, along with a bunch of other stuff. There were a lot of "non-horror fans" in my cast that have since confessed to me that after watching the the stuff with me that they have gone out looking for horror movies. They also call me up and say "Hey you know I really want to hang out and watch some stuff with you", so we get together a lot now and watch cool horror stuff.

Caretaker: In your opinion, what is the most important aspect in making a horror film??? As a fan, what do you like to see in a horror film???

Dave Parker: I guess the most important aspect of a horror film is to stay true to the convictions of the story that you are telling. If that means gore, than go for it. If it means suspense then go for that. Just don't insult the audience. The reality is that the audience watching it (especially movies that go straight to video) are real die hard horror fans, so don't treat them like they've never seen Halloween before. Realize that they have seen almost everything and try to give them something new to see or at least something fun to watch. I like to be surprised. When I saw THESIS, I was really knocked back, because it was made by someone who "gets it". This guy knew how to make a movie that drew the viewer in and didn't look down on him. Show me something smart and different and I'll be there. Another one that did that for me was THE DIVIDING HOUR - -because it made me look at movies that were shot on video in a whole different way. They just made a good movie, despite their budget limitations. It worked and as long as it works then!

Caretaker: What is your opinion on the state of horror today??

Dave Parker: I think we are better off with horror today than before. With things like the Six Sense and the Blair Witch Project (whether you liked them or not) we are seeing a diversity. It's not just all slasher movies or just one kind of movie, but a variety of genre films that are doing well. Also there are so many new people coming out with movies that make us think and challenge the conventions of the genre that really make it exciting. Nothing is a sure thing, so it lets people take risks and succeed much in the same way that it was in the 70's. and that is a good thing.

Caretaker: What's next for you??

Dave Parker: Well, I'm working on a script called THE WILDS. That is what I really want to do, but I'm also meeting on a couple of other zombie films right now. They would all be great to do and I hope that they come about. I love the genre and do not want to leave it, as long as I get to explore it and do different things than I feel really lucky and happy. There is so much that you can do in the horror genre that it really leave the creative door wide open. I just hope people get and support what I do. It's tough because it is very hard to make the audience understand that it is also a business (making movies) and that sometimes certain sacrifices have to be made to get the movie made. The filmmaker might not want to, but it becomes a choice between not making the movie at all and compromising somewhat. All I can say is that I will do right by horror fans, and I hope they will do right by me."

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Saturday, October 08, 2005


If you pay "close" attention, after peeing your pants in fear, you just might spot some of the actors from our
horror production, "CADAVEROUS", which was filmed at Tombstone haunted house located in Imperial Missouri. The Cadaverous production was shot before several weekends of labor went in to prepare the haunted site for haunting season. It is rumored that this will be Tombstones last year in production. Tombstone is also being rated as the #1 Haunted house in the country!! So, whatever you do this Shocktober, be sure to visit this haunted ghost town!
Raven Lunitic, Uncle Sam, and Scott from the Indie Horror production "Cadaverous" will be lurking, waiting, longing, for your blood!(Click the title link above for directions and more information).

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Thursday, October 06, 2005

Metal: A Headbanger's Journey

(Dunn and Dio)

School of hard rock, Sam Dunn and Scot McFadyen take an anthropological look at the people who live and die for heaviosity in Metal: A Headbanger’s Journey


After watching Sam Dunn’s documentary, don’t be surprised if you get the sudden urge to “Run to the Hills” in search of some “Sweet Leaf.” But keep in mind that sometimes “The Chase is Better Than the Catch”—not to mention the forecast is calling for a 70 per cent chance of “Raining Blood.”

If you have no idea what that means, don’t worry. Metal: A Headbanger’s Journey is a film that takes both power chord diehards and devil-saluting neophytes into consideration.

And it’s not your standard behind-the-music promotional viewing either. Instead, Dunn and co-director Scot McFadyen take an anthropological approach to metal culture, addressing issues of gender, religion, censorship, imagery of death and the sociological differences between punk and metal fans.

Together, they revisit such pivotal eras in metal as the Birmingham beginnings, where Sabbath and Judas Priest rose to fame; the heyday of the Sunset Blvd hair metal scene, where bands like Mötley Crüe ripped a hole in the ozone layer with their aerosol products; and the Norwegian church-burning phase, where bands like Mayhem bowed down to the Beast with onstage sacrificial rituals.

Island isolation

Throughout the film, Dunn talks to everyone from Ronnie Dio of late Sabbath to Bruce Dickinson of Iron Maiden. And for a Victoria, B.C., native like Dunn, conducting one-on-one interviews with metal mavericks is a long way from having to ferry across the Georgia Straight to see his favourite arena acts in over-crowded Vancouver venues.

And, as he recalls, growing up a Morbid Angel fan in a skate-rock town known more for bands like Dayglo Abortions and No Means No had its share of other challenges as well. True, Metallica and Slayer provided some common ground in the mosh pit, but for the most part, Dunn remained part of a longhaired minority throughout his high school career—though that didn’t stop him from hosting his own campus radio show.

“There was literally more wattage in my parents’ toaster than there was in the entire UVic radio station at that time,” says Dunn—who is both excited to talk to someone from Montreal, aka the capital of Canadian metal, and saddened by the recent death of Voivod guitarist Denis “Piggy” D’Amour. “So if you lived on the other side of the hill, you couldn’t get the signal. And that was really the only source in that town where kids could access the more extreme stuff.”

Nickelback nightmare

One of the most outstanding aspects of this film (aside from discovering that Rob Zombie has the makings of a male model underneath his ragamuffin dreads) is the fact that this movie has never been made before. While there have been several piss-takes, there’s never been a film that takes the world of 11-minute guitar solos so seriously.

“Yeah, I know, we just kept looking for one, and we were like, ‘This is amazing, this will be a first,’” says McFadyen, who’s also originally from Victoria but, like Dunn, now lives in Toronto. “Then came the fear that during the five-and-a-half years it took us to do it, someone else would beat us to it. There were rumours that a similar documentary was being made in Britain and that Lemmy was going to be the narrator.”

They needn’t have worried. The initial cut of this infamous no-name rockumentary was apparently so misguided that everyone including Maiden and Motörhead pulled their support. No one can say for sure what made it so abominably bad, but Dunn has a theory or two: “We saw the synopsis and they had Nickelback listed on their bands of metal.”

The Ozz that never was

Rest assured you won’t see any lame radio rock acts in Dunn’s movie, and strangely enough you won’t see Ozzy Osbourne either.

“Sharon Osbourne has blocked us every step of the way on this project,” says McFadyen of the Sabbath manager. “We tried everything to get an interview with Tony Iommi. We even sent her flowers.”

“I just think it’s really sad,” adds Dunn, “because she’s kind of lost sight of what it’s all about in a way. Ozzfest does do a great thing: it brings all these bands to all these towns every summer. But at the same time, it’s also become very corporate and commercial.”

In the end, though, they went around Sharon and landed an interview with Iommi—the man who, according to Rob Zombie, is responsible for every great metal riff ever penned, riffs that are ripped off to this very day.

“I think that really pissed her off because she likes to think that she’s the gatekeeper of all things metal,” says McFadyen.

Still, it must have been disappointing not to have the Prince of Darkness in their movie, yes?

“I hate to say it, but no,” says Dunn. “We set out to get Tony because that was the kind of film we were making. We wanted to present a different perspective on Sabbath, because Ozzy’s become this household name, a buffoon almost. In a way, he reinforces all the stereotypes.”

The Legend of Lemmy

Although they had landed almost every interview they wanted, there was one card they hadn’t played: the ace of spades.

“We were almost finished and we were like, ‘Fuck, we need Lemmy,’” says McFadyen. “We couldn’t get him and we were like, ‘We cannot make this movie without him.’”

Dunn adds: “For the longest time, we had a sign in our office that said, “Where’s Lemmy?” We tried so many times to catch up with him. He was supposed to be at the German festival you see in the movie, but he hurt his foot and disappeared. He was in a hospital somewhere and no one knew where he was. Finally we pinned him down at The Rainbow on Sunset Blvd, which is right around the corner from his house.”

Where Iommi proved to be a very proper, very polite teetotaller, Lemmy lived up to his legend.

“He had like five JD and cokes and one pack of smokes during our one-and-a half hour interview,” says Dunn. “He’s like almost 60. No one beats Lemmy.

Bach to the beginning

Along with no Ozzy, you can also look forward to a Lars Ulrich-free doc.

“Metallica was ‘documentaried out’—I think that was the term they used at that time,” says Dunn. “They weren’t touring and they were in different parts of the world and so it just wasn’t good timing. I’m just really happy we got to use ‘Masters of Puppets’ at the end of the film and that they watched the film and liked it.”

Ulrich and co. weren’t the only rock stars who gave their seal of approval to the film, which theorizes that if 18th-century classical composers had had access to Marshall stacks and the Mississippi blues explosion, they would have been headbangers too.

“Eddie Van Halen wrote and said, ‘Hey, any time you want to compare me to Bach, go ahead,’” laughs McFadyen.

So far so good, but they still have yet to screen at the upcoming Oslo International Film Fest, where some of Norway’s most prominent Satanists may be in attendance—some of whom, according to legend, ate their bandmate’s blown-out brain matter or, according to fact, were arrested for drinking blood. Dunn says he’s not too worried.

“We were careful not to sensationalize the events that took place in Norway in the early ’90s, and I hope that the Norwegian people feel that we did something that was critical yet honest,” he says, referring to his interviews with members of Mayhem and Gaahl from Gorgoroth. “Then again, perhaps I should hire security...”

As for McFadyen, he’s just happy that they accomplished what they set out to do.

“It was really important to break down the stereotypes,” he says of all the metal misconceptions. “Whenever we would tell people that we were making a movie about heavy metal, they would get this little smirk on their face. So our goal with this movie was just to wipe that smirk off people’s face.”

"Metal: A Headbanger's Journey"
Screens as part of the 24th Annual Vancouver International Film Festival Sept 9-Oct. 14th 2005 (click title link to visit the festivals website).
Also screens as part of the 34th Annual Festival du Nouveau Cinéma at Cinéma du Parc Friday, Oct. 21 at 11 p.m. and at Cinéma Imperial Sunday, Oct. 23 at 3:30 p.m. For more info on the festival,visit

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Friday, September 30, 2005

"Boo! Scary movies are big business"

Horror is helping Hollywood during this year's slump. Do movie fans want more thrills and chills?
September 30, 2005: 1:19 PM EDT
By Paul R. La Monica, CNN/Money senior writer

NEW YORK (CNN/Money) – Do you like scary movies?

Apparently, the answer is yes. With all the talk of a box-office slump afflicting Hollywood this year, the lowly horror flick, which often lacks big special effects, bankable stars and favorable reviews from critics, has been a bright spot for the industry.

"The Exorcism of Emily Rose," which debuted three weeks ago, has been a surprise hit for Sony (Research), generating nearly $63 million in ticket sales.

Earlier this year, a remake of "The Amityville Horror" did about $64 million while "The Ring Two," a sequel to the 2002 blockbuster, brought in about $75 million.

"Horror is one of those genres that have a seemingly inexhaustible supply of audience," said Paul Dergarabedian, president of Exhibitor Relations Co, a box-office tracking firm. "And this year there has been a preponderance of ones that have done well."

With Halloween a month away, studios are hoping that the success will continue. Sony is releasing a remake of John Carpenter's 1980 horror classic "The Fog" on Oct. 14. General Electric's (Research) Universal has "Doom," a movie based on the popular video game about humans battling monsters, due out a week later.

Finally, Lions Gate Entertainment (Research) will be releasing "Saw II," the sequel to last year's thriller about a gruesome serial killer, on Oct. 28.

Nothing frightening about the profits
Why have horror films continued to find decent audiences at a time when many are shunning movie theaters?

Robert Routh, a media analyst with Jefferies & Co., said that the subject of horror films lend themselves to more creative advertising campaigns. In addition, there's often a greater onus on making sure the story is interesting since horror movies usually don't rely on well-known movie starts.

"The key is quality. Who plays what part is not as big of a driver that leads people to the box office as it is in an action/adventure film," said Routh.

With this in mind, horror movies are also a boon for many studios. Since production costs are relatively low, it's a lot easier to make a healthy profit on a horror movie.

"Horror always has a consistent audience. That doesn't often translate into blockbuster numbers but since they tend to be cheaper anyway, they don't need to do over $100 million," said Brandon Gray, president and publisher of Box Office Mojo, a movie research company.

Take last year's "Saw." It was the first movie for its writer and director and its main star was Cary Elwes, a relatively well-regarded actor, but not someone in the league of Tom Cruise or Brad Pitt. "Saw" only cost an estimated $1.2 million to make but generated more than $55 million in box office receipts in the United States, according to Box Office Mojo.

Lions Gate is obviously hoping to strike gold with the sequel and the small studio has a history of taking chances on horror movies.

The studio released "The Devil's Rejects" this summer, a movie made by musician Rob Zombie. Although that generated just $17 million at the box office, it only cost an estimated $7 million to make. Lions Gate also had a hit with last year's minimalist shark attack movie "Open Water," which featured two unknown actors and cost just $500,000. It did about $30 million at the U.S. box office.
(Click "Read More" to read more or click the title link to go to the original online posting)

"Lions Gate has generally been successful with horror and it's not surprising. Horror is the sort of thing that smaller independents have historically done well," said Dennis McAlpine, an independent media analyst.

He pointed to how New Line Cinema, which is now a part of Time Warner (Research), made a name for itself in the 1980s with its popular " A Nightmare on Elm Street" series. (Time Warner also owns CNN/Money.)

But Dergarabedian said that horror success isn't limited to independents. He said Sony has done a solid job of producing and marketing hits through its Screen Gems label. In addition to "The Exorcism of Emily Rose," it also had moderate hits with "Boogeyman" and last year's "Resident Evil: Apocalypse" and "Anacondas: Hunt for the Blood Orchid."

A scary movie bubble?
So how come other studios aren't making more frightfests?

Gray thinks that at the end of the day, Hollywood is most interested in huge multi-million blockbusters. And it's rare for a horror movie to do more than $100 million.

"Big studios set their sights at higher levels so they don't rely on horror as much. Even though they may have a great return on investment, the numbers are still low on an absolute basis," he said.

Dergarabedian adds that Hollywood is afraid (pardon the pun) of tiring audiences out. He noted that there have been more than 35 horror films released in the past two years.

"That's a pretty good number. You do have to be careful about oversaturating the market," he said.

But Routh thinks many studios haven't done nearly as good a job of tapping the demand for scary movies as they could.

"We're nowhere near the saturation point. The key is quality. As long as the movies are good people will go see them and buy the DVDs," said Routh. "This really is a growing niche area with a cult following."

Jefferies' Routh owns shares of Lions Gate and his firm has an investment banking relationship with the company. Other analysts do not own shares of companies mentioned and their firms do not have banking ties to the companies.

The reporter of this story owns shares of Time Warner through his company's 401(k) plan.

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Tuesday, September 27, 2005

That '70s Horror Show

(By Film & Video Magazine)

Turns out the metal group White Zombie was just Rob Zombie’s first big idea. His gigs have included art director , P.A., music video director , animator, and horror-comic impresario. His first feature, House of 1000 Corpses, was dropped by Universal but eventually picked up by Lion’s Gate Films, which turned a healthy profit on it and greenlit The Devil’s Rejects as a follow-up. House of 1000 Corpses played like a fond re-imagining of grisly 1970s horror fare like The Texas Chain Saw Massacre and Last House on the Left, but ask Zombie about the sadistic The Devil’s Rejects and he’ll tell you it’s inspired by a different type of American film — Bonnie and Clyde, Charly, Two-Lane Blacktop, and everything Sam Peckinpah ever directed. We asked him to talk about how a 16mm shoot, a tasteful DI, and about $1 million worth of rock music helped him travel 30 years back in cinematic time. (Click "Read More" to read the actual interview)...

F&V: How did you get that authentic 1970s look?

Zombie: A lot of it was the collaboration I had with Phil Parmet [Harlan County U.S.A., Dallas 362], my cinematographer . His background was mostly in documentary. Phil’s in his 60s and shot a lot of stuff during the 1970s. I met with a lot of DPs, and they get a very “Well, I see it this way” type of attitude. And my response to that is, “I don’t give a f-----g s--t how you see it. It’s your job to make it how I see it.” And Phil is the coolest guy in the world. We hit it off right away and just got down to work. It was all about what the movie needed and not anyone’s personal ego stroke.

Sid Haig as the demented Captain Spaulding.

The main thing was we shot the entire movie handheld. Everything. Even if the camera was on a crane, the operator was holding the camera . But unlike the modern way of doing handheld, which is constantly whipping the camera around, NYPD Blue-style, our instructions to the operator were, “Hold the camera as still as you possibly can. Don’t shake the camera .” But of course that’s impossible. And I think that’s what gives it a very authentic feel. We never want it to be conscious, like “Look! We’re shaking the camera !” We wanted it to seem legitimate.

The DI [at FotoKem] was important for us because we shot the whole movie in 29 days, which was insane. And the DI helped us match different takes together when the light had shifted or the colors didn’t match. A lot of times the DI people go in there and they go apes--t tweaking the colors, making them bright and oversaturating everything so it looks like a rock video. And I hate it when movies look like rock videos. That’s why I was trying so hard to not do anything — even when we were doing split screens and things — that could not be found in a movie that was filmed in the 1970s, whether it’s The Getaway, Charly, or Dillinger. Any time we did anything like that I wanted it to be primitive.

So we just desaturated the colors a little bit, crushed down the blacks, and made everything match. We didn’t go too crazy with it, and that’s why I didn’t shoot 35. I didn’t want to shoot 35, get a clean negative, and then have to try to make it look grainy. I wanted the grain and the distress to be real, because I can always tell when it’s digitally added later. I just think movies these days look too slick.

F&V: How expensive were your music clearances?

Zombie: Music alone would have been about a seventh of the entire budget. We worked a lot of sweet deals, so they ended up being maybe a tenth of the budget. The budget was $7 million, and the first pass of music came in at close to $1 million.

Sheri Moon Zombie as Baby Firefly.

That’s just hard to justify. I cleared a lot of the music in advance of shooting the movie. I knew I wanted to use “Free Bird” [by Lynyrd Skynyrd] and “Midnight Rider” [by the Allman Brothers Band] in their entirety, more or less, and I didn’t want to get into post and then not be able to get the rights to the songs. A lot of people edit their movie and temp in the Rolling Stones and the Beatles. You’re never going to get those songs, so don’t fall in love with them, because you’re going to hate yourself later when all the music comes out of the film.

F&V: When did you realize the songs were so important?

Zombie: I knew it from day one. I was listening to the music when I was writing the script, and I kept it in an iPod in my pocket the whole time I was shooting. Whenever there was down time, I’d listen to the same songs to stay in the same space I was in when I was writing. I wanted to take “Free Bird,” which is the great American song, but is almost a cliché, and make this the ultimate stamp on that song. You’ll never hear it the same way. That’s a testament to when a song works well, and the best example of that is “Singin’ in the Rain.” I associated that song 100 percent with the movie Singin’ in the Rain — until I saw A Clockwork Orange.

F&V: Would you like a bigger budget for your next film?

Zombie: Definitely. You know, $7 million’s a lot of money, but it was a stretch for this movie. We kept cutting shooting days to make it work, and that gets tricky. I wish I had another week to shoot. But I only want to escalate the budget as I can escalate my ability to control it. If someone suddenly gives you $100 million, that money also comes with seven other producers who are calling the shots. I can’t bear to make movies that way. And nobody’s going to let you make a movie like this.

F&V: Have you ever considered shooting on video or HD?

Zombie: I discussed it, but I didn’t think I could achieve anything I wanted to achieve on video. And with HD, you’re really, really trying to electronically simulate the look of a film. It’s too new. And there aren’t a lot of experienced cameramen who’ve worked in HD, so it really starts cutting down your cinematographer options. That world’s not quite there yet. It’s great for Robert Rodriguez and people who have established themselves in HD, but it’s not easy for me to make that choice.
F&V: Do you have any advice for beginning filmmakers?

Zombie: The best thing you can do is just make a film. Everyone’s got a great story they’re going to tell you, but as soon as something’s on film, and someone can sit down and watch it, you’ve immediately distinguished yourself from the pack. Everyone and their grandmother has an idea or a script. But as soon as someone hands me a DVD , suddenly it’s one step closer. These days it’s so easy to make a movie, even a short movie with a video camera , and you can see talent. When someone hands me a demo tape of their band, it can sound like s--t — but you can hear whether or not the band has talent.

F&V: What’s your next project?

Zombie: The next movie is still a secret, but I do have an animated movie that’s been in the works for about a year. It will be out in 2006 and it’s called The Haunted World of el Superbeasto. It’s an R-rated cartoon for adults. It’s sort of like Austin Powers meets the Munsters — but if that was done in a way that was dirty.

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Monday, September 26, 2005

Official Competition.

Ok. there are like 2 out of 80 something films submitted that I concidered competition with our film. But, here it is...
this one here...they hit it. I mean some had good sound or lighting. Some had really original stories, but most of them just
straight up sucked. This one though...might just take it.
It's called "Texas Fortune" here's a screen capture I took. Didn't even view the whole thing yet, this is like a couple several seconds into it:

Did I say, "might take it"? This one will win. This guy's already there man. Click the title link to see a sample from some dude that will surely be making movies comming out in a theater near you, sometime soon. When I finish viewing this thing I'll know his name. Right now, I keep watching like a couple of seconds and stalling. I don't want it to end. This is it man-RIGHT HERE!

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Cadaverous Online!

If you click the title of this post, you can view the version of Cadaverous that was submitted to DVX Unleased Zombie Fest.
You can also view some of the behind the scenes stuff and purchase your own dvd copy if you like.

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Saturday, September 17, 2005

CADAVEROUS still's pt. 3

CADAVEROUS is coming! To an underground, bootleg smuggling, cheap indie horror fan near you.;)


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CADAVEROUS still's pt. 2

Here is the second batch of stills that I captured from our horror production weekend.






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Matt G. finally got around to editing our little weekend of fun yesterday. I received it by email @ 2am. Here are the first set of still's I captured from our short film.





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Friday, September 16, 2005

The Haunted World of El Superbeasto

Rob Zombie is at it again. This guy never sleeps! Click the title link to check out the Official El Superbeasto website.
Take a look at what Rob's been doing with the comic characters based on a comic book series that he created a couple years back or read on...Director Rob Zombie News Genre : Horror Movie News

DPS Film Roman and Rob Zombie are teaming up to release El Superbeasto the animated film. El Superbeasto is Rob Zombies comic book character from his ongoing Spookshow International comics. The title for this little animated film will be The Haunted World of El Superbeasto.
El Superbeasto is a mexican wrestler who battles monsters and maniacs while picking up hookers. His "sidekicks" are his sister, Suzie X and a ten foot tall robot named Marvin. Think The Goon meets mexican wrestling with a twist of horror.

This sounds really cool and I'm sure all fans of Rob Zombie will love this movie. No release date has been set so don't get antsy yet.

Anchor Bay will be releasing the animated movie in the U.S. and IDT Entertainment will handle the film internationally. (

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Friday, September 09, 2005

Scarlet Fry's Junkfood Horrorfest.

"The premiere of the new horror movie "Scarlet Fry's Junkfood Horrorfest", starring shock rocker Alice Cooper's daughter Calico, will be held on October 13 at the Cooperstown in Phoenix at 8:00 p.m. and 10:00 p.m. PST. Calico plays "a junkie serial killer who is fed up with getting ripped off by her drug dealer. The vicious little alley cat decides that killing is the best way to get a quick fix" in a story called "Dope". The 70-minute anthology movie was directed, written and produced by Brian Crow and Walter Ruether, who also created the special FX with Lyle Snodgrass, and is described as a cross between "Tales from the Crypt" and "The Toxic Avenger". The movie also includes a song from COOPER guitarist Ryan Roxie, "Psycho Fighter", featuring Roxie on guitar, John Corabi (MÖTLEY CRÜE) on guitar, Chuck Garric (ALICE COOPER) on bass and Tommy Clufetos (ALICE COOPER, ROB ZOMBIE) on drums."
(Information quoted from a post on Blabber mouth, made by: SickthingsUK)

View the trailer by clicking the title link up above. (Warning: extreme content!).

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Thursday, September 08, 2005

Cadaverous Update.

I'm still working on the documentary on Indie Horror Film Production.
It revolves around a movie that my friends are making called, Cadaverous.
I posted some screen captures last month.

Two of the actors were unable to finish production so they were replaced.
We lost Alan Hollingsworth (my difficult but favorite Indie actor;) and Carrie Kreuz, the story
was rewritten by Dave Chapman, and the entire movie was reshot.

So here are some more screen captures of the actors from the opening scene:

The Star, Chelsie:

The Leader of the pack (and great actor) Scott:

A group shot:


Sheila and the Character Mouse:

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Wednesday, September 07, 2005

I'm done mourning...

I've got to be. I've got work to do.
Today some lady on the stlfilmwire, got pissed off and decided that she wanted off the list. Well, if you
email the general list your message goes out to everyone who is a member. So, in my mailbox, I get a message from someone throwing a fit, cursing St. Louis, and demanding to be taken off the list. because she has "never been able to find a job with pay in this useless town" and that she was "tired of deleting the thousands of useless posts that she never reads."

Like most email memberships...If you don't want to be a part of it. You simply click the link to remove yourself.
So as a satisfied member of the stlfilmwire, I had to get smart assy with her (she begged for it).

To make a long story short, she blew her lid some more. Called me "unprofessional", and "childish", "glad she never met me", and commented on my " 'tude"...that was the best part because I now have a new word...'TUDE.:D

Yeah, at least she was worth something. The moral of this story is... just because your not finding things and getting paid, you don't have to blame the entire town. It's most likely because you don't really like what your doing enough to work for free #1, your trying so hard to be professional and un child like that nobody wants to work with you #2, or you need to just take your ass to Hollywood and hopefully I'm reading about you in Variety in the years to come.

If not, then you've proven me right, once again, and I'll continue to sit mighty on the throne of childish, unprofessional, no pay Zombie movie production queendomhood thrown. Because..."YOU CAN'T BRING ME DOOOOOOWWWWWN!";)

Remember Suicidal Tendencies? I loved those guys, what happened to 'em? "I WENT TO YOUR SCHOOLS, YOUR CHURCHES, ALL I WANTED WAS ONE PEPSI!!!! AND YOU WOULDN'T GIVE IT TO ME!!!!!" They rocked.

This lady...did not. "Take me off NOW! I'm tired of the comments! I can't get work with pay! I'm sick of this town! BLAH BLAH BLAH BLAH BLAAAAH!" JEEEEZ!

Then move on sista! Good luck to ya. (Salute)

I wonder how she knew that I was involved in a Zombie production if she never reads the stlwire posts. I mean, not only would you have to read them to know that, but you'd have to freaking dissect the hell out of 'em to know that. I've only responded to a total of like 3 stlwire posts that landed me a productive (non-pay but very satisfying) situation... and I'm happy.:) Poor... but happy.:D

A good beginning.

There has been a lot of people downing the "negative" movies coming out of the St. Louis Indie movie scene but you know what. I've seen some of the most important movies coming out of here. Haircut was one of them.
A lot of people were negative because it involved drugs. Man, that's real. It's here, it's destroying lives. It's important that people know. Get real or get out! I'm not saying that movies that I've created or been involved with have been THAT important (they've mostly been fun) but, in time.

I'm learning that there are a lot of skills to develop first. Why not have fun getting there?

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Sunday, September 04, 2005

New Orleans Still...listen.

In between tears (and beers), I found a gem...
WWOZ New Orleans Roots Radio, signed off on Aug. 27th @ Midnight because of Hurricane Katrina, BUT until they can build a new temporary facilities (they say, "hopefully in October"), they have a temporary stream, "WWOZ In Exile, broadcasting out of a hotel room in Arkansas.
You can click the title link up above to listen. I've been listening all day...

There is a list of New Orleans Musicians that have been tracked down, and other great stuff. Trumpet, Sax, voices.
I've only visited there once and it was at the end of tourist season, and so I experienced the after math. Everything was slowed down and real blues'd out, and kind of dirty in a beautiful way.

You really must go listen, if only for a moment.

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Saturday, September 03, 2005

What's next for Zombie?

Bill DeYoung of recently conducted an exclusive interview with ROB ZOMBIE. The question-and-answer session follows... Roger Ebert called "The Devil's Rejects" "nauseating" and "a gaudy vomitorium of a movie." Is that the sort of comment that makes you think, "Mission accomplished?"

Rob Zombie: "I don't know — as long as it's positive, I appreciate it." With the success of the movie, are you thinking now of giving up music?

Rob Zombie: "I'm definitely going to make another album and do another tour, but I don't know how much more after that. I mean, I really want to make films. And the thing is, films just take so long. Once you sign on and start a project, it's easily going to take up two years of your life. If not more. So you really can't keep disappearing for years and years at a time and expect to maintain both careers. And you can be making movies when you're 70." I understand you're a big fan of Westerns. What are your favorites?

Rob Zombie: "I really like John Ford and Howard Hawks. And John Wayne was always my favorite. And I really love all the Italian stuff, all the Sergio Leone stuff and some of the more obscure Italian things." Do you think knowing that about you would surprise your horror fans?

Rob Zombie: "I think that everything I've done has had obvious influences coming in from all over the place. It was never about one thing. But a lot of the influences might have been lost on people. People are usually wrong — the main type of things that people think I like are things that I have no interest in whatsoever." Such as?

Rob Zombie: "Well, I love horror movies but I don't really like crappy gore movies, on any level. I just find them boring and I won't even watch 'em. Everyone thinks that's all I like, and I don't even watch them at all, like 'Friday the 13th' and its 900 sequels." Are you thinking, down the line, about moving into mainstream films? Is "Rob Zombie's Cinderella Man" possible?

Rob Zombie: "Well, I already made these films, so the next thing will be something totally different. 'Mainstream' has always been a hard balance, even with my music. Even though it sells like a mainstream act and you can sell millions and millions of copies, it doesn't have mainstream trappings around it."

"So it'll be the same battle I've had with music — having a cult-level mentality on a mainstream audience. 'The Devil's Rejects' is not a tiny little movie that came out on one screen or went direct to video. It's the type of movie that people don't think you're going to make and release into multiplexes across the country. I've always had that battle." There's something very subversive about that. It must be satisfying.

Rob Zombie: "Well, not on that level. I just think everything's become so clean and sanitized and boring. It didn't use to be like that. I mean, even with mainstream movies, you didn't watch 'The Godfather' or 'Taxi Driver' and think, 'God, these are so clean and sanitized.'" Are you thinking about your next film project?

Rob Zombie: "It won't be a horror movie. I don't want to do that next, because I don't want to get pigeonholed. Once you get locked into a box, and people think that's what you do, then you're kinda screwed. I want to do what I want to do, and that's the best way to go about it. It'll be something totally different." What would you do if a big studio gave you $50 million and said "Go make us a movie?"

Rob Zombie: "I don't want to make movies that I don't have control over. 'The Devil's Rejects' was a big enough hit that I could start chasing projects like that down easily. And probably get 'em. But I don't want to make weird movies, and then just become like every other guy making 'Green Acres — The Movie'. Then you're like, 'What happened?'"

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Wednesday, August 24, 2005

Still's from our movie I

Here are 3 that I captured on the Sony DV (borrowed from school), logged with D2X (trial demo), and manipulated in Goldberg (free-ware) on my Howlin Mac (struggling to keep up with technology).
Raven Lunitic:

Sam Rhodes (Uncle Sam):

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Scenes from the Documentary.

I have to put together a short documentary for a school project. Here are some stills from some of what
I captured with the Sony last Sunday.
Saturday I also captured some really cool footage of Sam getting his "latex on". Matt G. has a KILLER camera and Boom mic, and was nice enough to help capture some really cool stuff for my Documentary, before starting on the movie that is also being filmed. Hopefully I can work with him to come up with a longer version outside of my school project.
It was about 110 degree's with the index factor on Saturday, I literally had sweat dripping off of my elbows, making puddles in the dirt as I filmed. The only person hotter than me was Sam, and of course Matt. He's got great energy!
Raven never sat down and I didn't see him break a sweat-Demonoid Phenomenon!

I'm too broke for photoshop so I used a Goldberg (free-ware), and I captured these stills from DV using firewire from the sony to my mac and a trial demo of D2X. I am not enjoying editing in my current situation. I need about $1000 (at least), to get set up right. So, here's some of what I have from sunday (it was a much cooler day)...

Raven Lunitic put's on his face after finishing Sam's:

Matt G. (our Godsend):

Alan Hollingsworth (Uncle Al), not enjoying the taste of glucous syrup in his mouth, after getting his neck snapped and knawed on:

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Treading water...

Well, Mac OS X is great but dang! I have to get rid of my perfectly good printer for a new one.
From what I've gathered, the stylus 580 is not compatible. Everything after that one but, not the 580. Isn't that always the way!

The school is only allowing us to check out one camera at a time for one day at a time! I'm using the Sony as a deck for editing purposes also so that really kills me!

So, I need a Printer, a DV camera (or beter) aaaaaaaaaaaand...

The free Avid editing is great but my computer doesn't have enough hard drive space to do what I need to do.
I've emptied it out as much as I can. I think I like Final Cut Pro beter though, but can't get that for free and the school is trashing it's Mac's at the end of the month.

So, I need a Printer, a DV camera (or beter), and an external Hard drive with a Jillion GB's and Final Cut Studio.

And, I'm tired of using free downloaded programs to extract sloppy looking pictures from my DV's, so I need Photoshop.

Basically...I need to quit school for awhile and get a job!

So, that's the plan.

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Tuesday, August 16, 2005


by Sean Cain (2005-08-16)

There’s a point in Rob Zombie’s new film where Lew Temple (one half of the Country Western Duo, Banjo and Sullivan) finds himself straddled by the fiendish Otis (Bill Mosely) with the intent of carving himself some flesh with a wicked looking knife. It struck me as maybe a little more gruesome than my moviegoing neighbors because I knew Lew as more than just a character in a movie. We’d been friends ever since I met him in Houston, Texas where we worked on a project together.

As a consummate stage actor, a Southern good ole’ boy, and a Christian I would have never dreamt he’d end up as a victim in one of the more graphically violent mainstream movies to come out in a long time. I spent a few hours talking with him at his Hollywood residence, an apartment leased from Perry Ferrell (formerly of Jane’s Addiction) in the villa formerly owned by William Randolph Hearst. Just across the street is the ominous Scientologist center. Could there be a better setting for an interview about such macabre questions?
(This is a great interview, read on...)

The last time I saw someone’s face used like that was in Halloween. Only it was a mask of William Shatner turned inside out. Not one of the characters from the movie. Did it freak you out?
When I originally read the script there were so many things that were shocking. That was just another one of them. I actually had to go back and go, “Whoa, is that my character?” Rob Zombie actually used the word ‘filleted’ when describing what would happen to me. There were several masks made. Rob has them all. I asked for one, but he said, “Nah. You have the original”. It’s really strange to see your face on someone else. There’s been talk with a company to release an Adam Banjo mask for Halloween. So, it could really be creepy with a knock on the door, “Trick or Treat!” and a couple of little Adam Banjo/Lew Temple’s asking for tootsie rolls....

I made a film, "Naked Beneath the Water," where I’m drown in a bathtub. My mother still refuses to watch the film. Your past film and stage work is so far from the horror genre. What did your loved ones think when they watched the movie?
A couple people who I thought were my friends where like, “Man, You don’t know how long I’ve wanted to do that to you,” but ultimately my parents, my girlfriend and those people who are closest to me have had a really hard time seeing it. My face cut off. They find it very offensive. To me it’s a part of that genre. We become so desensitized in the world we live in. People get killed all the time in movies, but if it’s someone you know it can be very powerful. Very real.

Yeah, it’s like you turn on CNN and 19 more marines have been blown to bits. To most people it’s just another statistic, but if you know one of those marines personally…
Yeah, definitely. The death scene for Banjo and Sullivan (Lew and Geoffrey Lewis) had to be horrific, but we talked about having a little poetry. It took three days to film and Rob shot it in the blazing sun which I thought made it a bit creepier. At some point during the day when the fake blood was being pushed through me I was struck with this feeling, like, there goes my 3rd grade kiss, and then my first hit in little league, my dad’s fishing trip with me. My memories spilling out in that blood.

Remember the scene in "Saving Private Ryan" where Adam Goldberg is stabbed by that Nazi? It was a poetic resolution to death in the end when the knife went in. Bill Mosley (Otis) and I worked a really nice piece where the killer honored the killee when it was over. When I finally give into death there’s peacefulness in my eyes. You’ll have to wait for the DVD though because the MPAA wouldn’t let them show the knife getting anywhere close to my face.

It’s okay to show you get shot in the neck, stabbed in the leg, and Geoffrey Lewis’ face bashed in, but no knife on face. That makes a lot of sense…although it was a pretty wicked looking knife.
Kane Hodder was the stunt coordinator and of course we all know he’s great in "Friday the 13th." He’s Jason…the mask…that’s him. In the scene where I get stabbed in the leg he brought in these great stunt guys although I did a lot of it myself. Anyway, there were two knifes. A stunt knife and a real one. Bill pulls the real one for the authentic look and the stunt one slides back, but it doesn’t look very good.

We were breaking the sequence up, but one particular take was going so well that it played through. Well, I lost my sensibility of where we’re at and I’m into it with the intensity of “Let’s go!” So, I go over and am choking Bill Mosely’s stunt double with a board. He pulls the knife to stab me, but holds up. I’m like, “C’mon. Let’s make this look good,” only it’s the real knife and he’s the only one who knows it. I was trying to pull his hand to my leg with the knife practically in my nutsack when I finally understood why he wouldn’t let me. The guy, such a professional, probably saved me from being circumcised.

Dang, it wasn’t enough that you gave your face to this movie, it was almost your manhood too. So, how did you end up in this situation anyway?
I have some pictures of Rob Zombie that make this movie look like "Shrek." No, just kidding. I knew the casting director, Monika Mikkelsen from when I worked on Serving Sara. She’s a great lady and a dear friend. She thought I would be perfect for the part of Adam Banjo and we made a tape and sent it to Rob Zombie. I patterned the role after my good friend, Jesse Dayton (Road Kings, Jesse Dayton Band) who’s actually the lead singer of a country band. I used the bravado and demeanor I saw in him when he performs and I guess it worked. This was in March of 2004 and a week later I got a call saying Rob liked me. Funny enough, I was with Jesse in Austin at the time of the call.

But now that they offered the role to me the reality started to sink in. I’d never done a horror film before and didn’t know much about this Rob Zombie guy. You gotta remember I’m from the land of George Jones. We don’t go for that devil worshipping stuff here. (said in an exaggerated southern twang). Also, I’m a devout Christian and trying to be in a place of cleaner living now. It was shortly after I first arrived in Los Angeles that I contracted a rare form of leukemia. Facing death gives a man a completely new perspective on life. But I survived and have been in remission for three years now.

I first met Rob Zombie at Wayne Toth’s prosthetic house when they were doing the mask for my face. He was very kind and we hit it off. He’s always had an aficionado for 70’s country music and we connected on that. As a director he has the flexibility to let go when he sees something not working and try something different. The great thing about working with Rob on set is that he has great stage presence. He could offer the intensity in a scene on, for instance, how you would stab someone. It was then I’d see the rage of this performer and think…wow, that’s White Zombie. That’s the power of his music. That’s the fucking killer who wrote this script and probably fried ants with a magnifying glass when he was a kid. I really appreciated his intensity and think it raised the bar on the set every day. Our performances were better because he would come with that intensity and organization of what he wanted. He draws the storyboards for the movie and even his concerts are very visual and participatory. I’ve come to love his music and have all his CDs. I would have never thought that two guys with such different backgrounds could ever end up being such good friends.

What about the music for Banjo and Sullivan? The titles are hilarious. Stuff like: ‘I’m at Home Getting’ Hammered, While She’s Out Getting Nailed’, ‘I Don’t Give a Truck’ and of course ‘Lord Don’t Let Me Die In a Cheap Motel’ which should be the Banjo and Sullivan theme song for this movie.
One of Rob’s disappointments was that we never got to see Banjo and Sullivan on stage singing. We were at his birthday party and I started talking about how we should put an album out. Rob liked the idea and told me to run with it. Of course, I thought of Jesse Dayton right off the bat. I gave Rob some of his music and he loved it. So, Jesse came out and with a bottle of whiskey and some guitars we started writing songs. It came together very fast and suddenly we found ourselves in a room full of Universal executives and Rob pitching the songs. They loved it and soon after we got a record deal. It would be Banjo and Sullivan, but since we’re all actors and not singers Jesse would be the voice behind the band. Unfortunately, it wasn’t finished in time for the movie, but one song did make the official Devil’s Rejects record. You can find the CD in stores now though. It’s called, ‘Banjo and Sullivan The Ultimate Collection 1972-1978’.

What about fans of the movie? I know, in general, horror fans are very…devoted. Anybody pulls a Kathy Bates from Misery on you yet?
Having my first love be baseball (Lew was in the Houston Astros minor leagues before he got into acting) I get the fan thing and have had experience with it, but the main difference is how passionate these guys and gals are. Let me just say that if there was a riot I’d want the Devil’s Rejects fans in front of the Charlie and the Chocolate Factory fans if you know what I mean. They’d kick some real ass.

One fan claimed to be Adam Banjo’s mother. She really believed it. Another guy wanted socks I wore in the movie and someone else asked for my beard. When I told him it wasn’t fake, but something I grew for the part and then shaved off he asked if there were any shavings left.


Lew Temple can next be seen in Domino (with Keira Knightly) where he loses an arm instead of his face. Sean Cain’s film, "Naked Beneath the Water," will be released on DVD this fall.

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Angelus is one of THE top events nurturing college and film school students – with over $20,000 in cash prizes as well as high visibility with industry screenings at the Directors Guild in Hollywood and in Park City at the Windrider Forum during Sundance...

Now in its 10th year, the festival began as a result of conversations about the influx of violence-exploitation films being churned out of film schools. This created the "human condition" theme that makes Angelus a unique opportunity talented, up-and-coming filmmakers.

Many past Angelus winners have gone on to significant success as a result of contacts through the fest, and the number increases every year. Angelus alumni includes Patricia Cardoso (Real Women Have Curves), Sabrina Dhawan (writer, Monsoon Wedding), and Jessica Sharzer (Speak), to name a few. Celebrity support for the Angelus Awards includes both past Honorary Chairs Jim Caviezel, Lynn Redgrave, and Martin Sheen and Honorary Committees comprising Lawrence Kasdan, Penny Marshall, John Travolta, Matt Damon, Angela Bassett, Melissa Gilbert, Catherine O'Hara, John Tuturro, Christopher Reeve, Anjelica Huston, Frank Oz, Dame Judi Dench, and Harrison Ford.

Looking for your big break? Read on for details...

Angelus Awards Student Film Festival

Hollywood, CA

October 22, 2005

July 1, 2005 - Regular Deadline
Upgraded projects save $5

Log into your Withoutabox Account and look for Angelus Awards Student Film Festival in the pulldown menu on your Account Home page.

The Angelus Awards Student Film Festival honors films that explore the complexity of the human condition with creativity, compassion and respect. Themes about the human condition include: redemption, equality, "triumph of the human spirit," dignity, spirituality, hope, etc.

The Angelus Awards celebrates its 10th festival season in 2005. Undergraduate and graduate filmmakers worldwide compete for the grand prize of $10,000 and a screening at the Directors Guild of America in Hollywood each year. Other prizes include the $5,000 Priddy Bros. Triumph Award (film with redemptive theme), the $2,500 FujiFilm 'Audience Impact' Award, the $2,500 Mole-Richardson 'Production Design' Award, the $1,800 Outstanding Documentary Award and the $1,500 Outstanding Animation. Finalists compete for the $1,500 Act One Screenplay Award. In addition, all finalists receive a variety of industry gifts and prizes.

Festival Jurors include Vicky Jenson (Director, Shrek, Sharks Tale), and reps from New Line Cinema, Dreamworks SKG, Innovation Group, Walt Disney, along with many others.

Angelus is currently open to undergraduate and graduate students only. Unfortunately the festival is not open to high school students.





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Copyright © 2005- Howlinmoon Productions


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