<![CDATA[Ginger Nuts of Horror - GUTTER TALK ]]>Thu, 19 Apr 2018 10:52:24 +0100Weebly<![CDATA[FILM GUTTER TALKS TO DAN ELLIS]]>Thu, 26 May 2016 07:48:56 GMThttp://gingernutsofhorror.com/gutter-talk/film-gutter-talks-to-dan-ellis “Sometimes you have to be willing to go places you'd rather not to get what you need for a scene”. I knew what he was saying but I didn't get the gravity of it till now."

This May it was a great privilege to present Film Gutter's first ever event, and one that will hopefully be the first of many. We had the even greater honour of hosting the UK premiere screening of American Guinea Pig: Bloodshock, the breathtaking second installment in the new revival of the 80's Japanese movie series. For anyone with an interest or passion for extreme horror, this is a flat-out must see and a rare movie in scoring 10/10 from us. And what's more, we also had the opportunity to chat to lead star Dan Ellis about his role in Bloodshock...
Alex: Bloodshock certainly is one of the most striking movies I've seen in recent years - how did you come to be involved?

Dan: I've been friends with Marcus Koch for years and we had always wanted to work on a project together. I was on the fence about my acting career, not sure where I was going or what I was doing, and was really having a rough way to go because of it. One night I'm sitting on the couch and there's Marcus on the phone... We talk for a bit and he says “Hey, any plans a few months from now? I'm doing a film and wondered if you'd be interested”. I said yes and he asked me if I wanted to know what it was about first and I told him it didn't matter... Had a laugh and then he got me the treatment. I read it and the answer was an even more enthusiastic YES!
Besides wanting to work with Marcus, this was an actor's role, as I saw it, and I knew it would be a challenge for me. I needed some kind of sign and this was a good one. I know it sounds kind of hippy-dippy but I do believe life sometimes gives you hints, if you are paying attention. That call couldn't have come at a better time. 

Alex: Did you have any awareness of the Guinea Pig films, either the Japanese originals or the more recent take?

Dan: I was familiar with the Japanese series but had never seen any of them; I plan on changing that. Shortly after talking with Marcus I was introduced to Stephen Biro and he filled me in on his vision for the American series and how it came to be. Even though it had nothing to do with Bloodshock Stephen wanted me to watch the first one, Bouquet of Guts and Gore, to get a gauge of what had been done. I have to be honest though, snuff films and such aren't really my thing, but I thought it was good and, as usual, Marcus did a fantastic job on the effects. 

I knew, much like the Japanese series, all the films would be different and share in title only but it really was a good first film to kick things off. It got me even more excited to be involved because I wanted/want to be part of what Stephen is doing and the series itself. I think, when all is said and done, it's going to be a must-have for any fan of the genre because, from what I know, there will be a little something for everyone.

Alex: What were your thoughts when you first saw the script, and what was involved for your character?

Dan: Well, the term script is used loosely here hahaha. I thought it was a good story and, without giving too much away, the ending was just too good. The most obvious thing was the complete lack of dialogue for my character but that was also the most enticing aspect. I knew it was going to be a challenge for me, not just because it's the other side of the coin and very different from the characters I normally play but I was going to have to express a range of emotions without the aid of dialogue. It was going to be a good test and a bit cathartic at the same time, win win.

Alex: Was it a difficult experience having to portray everything that your character went through? Did you find there was any emotional or physical toll on you personally?

Dan: I was a wreck for about two weeks after. I got home and found myself in a deep funk for several reasons. I get very attached to any production I'm involved in so there's always this postpartum depression, so to speak, that hits me. You work side by side with people for weeks and you get attached, they become like family sometimes. When it's time to say goodbye, it's painful.
The other part was the damage I did to myself mentally. In order to really feel what I needed to I had to drum up some pretty bad memories and go to some dark places in my mind I hadn't visited for some time. Some things I had shoved down real far started to bubble up unexpectedly; it kind of snowballed. The scenes would end and everything was fine but once production was over all the emotions resurfaced and it was really hard to deal with. It was like aftershocks and it wasn't fun but I wouldn't change any of it. An actor I met when I was younger told me “Sometimes you have to be willing to go places you'd rather not to get what you need for a scene”. I knew what he was saying but I didn't get the gravity of it till now.

My body wasn't as bad, I was pretty sore and tired, but mostly it was a psychological toll. 

Alex: The setting for the movie was so bleak and unsettling - where was it all filmed?

Dan: Stephen used to run a comic store in Ybor City in Tampa back in the day and, ironically, he discovered the upstairs wasn't occupied. He got in touch with the landlord (you'll have to ask him for more specifics, I'm paraphrasing) and, after looking around, the landlord agreed to let him film there. He sent me pictures and I was pretty impressed. Lots of history in that building and it was very creepy indeed. It was also one of the hottest places I have been to in a long time! The worst was when it would storm, you'd think that would cool things off but no, we had to shut the windows to keep the water from coming in since the sub floors were exposed and it just made it even hotter. I think that may have helped in the long run with the whole miserable vibe. 

Alex: What did you think when you first saw the movie in black and white – did it feel like a different animal to when you were filming?

Dan: The first cut I saw was in colour and I really liked it, it was a lot shorter than the final edit but it was good. A while later Marcus and Stephen said they wanted to go black and white because they had been experimenting with the edit and liked it a lot. I have to agree with Marcus on doing it in black and white, blew me away! I think it fits the mood better and adds more than it takes away. It definitely has the Marcus Koch thumbprint on it, if you've seen his earlier stuff he's directed. It fits his style of directing, the guy is an artist and he really has a fantastic journey ahead of him if people are smart.

Alex: What was it like performing in that final scene? As a viewer it left such a dent in me, which is intended as a compliment!

Dan: Hahahaha! Well, it's supposed to “leave a dent” so to speak. Stephen and Marcus described that scene to me with such passion and enthusiasm, I'm glad people are responding the way they are to it. That was the last scene we filmed, literally. We had been filming for like 16 hours I think when we wrapped that scene. Everyone was pretty exhausted by the end of it. But, in answer to your question, it was pretty insane to do. When you're “in it” it doesn't feel awkward or anything because you believe what you are doing  is real so it gets kind of organic and you just go. Marcus was really good at guiding us through it without screwing up our timing or energy. Insane, yet fun to shoot also, I love what I do! 

Alex: Are you happy with the reaction to Bloodshock so far?

Dan: Very! After every screening I see the posts online about how blown away people have been by it, so I'm very happy. Not just for myself but, regardless of them being my friends, Marcus and Stephen are really good people, I'm so happy for them more than anything. We have all been busting our asses for years, some good some bad, so when you get the reactions you wanted to get from a project you've put so much into it makes all the hard work worth it. That's the reward for me.

Alex: Is there anything in a movie that you'd feel reticent to do as an actor? You've certainly been in some extreme movies before, including Ryan Nicholson's Hanger and Gutterballs...

Dan: I used to be okay doing whatever and usually it was fun but my views have changed and part of that was from having kids I guess. Now I tend to stray from excessive vulgarity just for the sake of doing it. If it applies to the story and it's justified, sure man I'm cool with whatever! If its just something you want in your film because you think it would be “Cool and fucked up” then odds are I'm not cool with that. There are a ton of things I don't like or agree with in real life but acting is different, you have to be willing to do some unsavoury things to tell the story, regardless of your personal beliefs especially in horror. It's not real, no one gets hurt and you need those elements sometimes. 

Some people can't compromise, they can't separate films or acting from their “real life” morals and ethics, I respect that, but I can and that's not to say I'm any better or worse than anyone else, just different.  

But the most important thing is that it has to be relevant or there's going to be a problem. Shock, for shock's sake, is cheap and obvious so what's the point? 
I hope that doesn't make me sound like some pretentious asshole. Hahaha!

Alex: Can you tell us anything about what you're working on next? 

Dan: I just finished working on The Valley of the Rats with Vince D'Amato in Vancouver. I worked with Vince on a film called The Hard Cut a few years back and I'm pretty excited to have worked with him again. He's another very talented film maker and all around great guy.

As far as upcoming projects go, I have been talking to a couple people but I never like to talk about projects till they are confirmed and I get the okay to spill the beans.

I'm pretty focused on my family right now, my mother has cancer and is in the middle of her battle. She's my best friend, I am an admitted “Mamma's boy”, so I have been dedicating whatever time I have to helping her as much as possible. I started a gofundme to try and help with the bills and essentials. It's been rough because she lives so far away and I can't visit as often as I'd like. I'm doing the best I can and I'll be there when she needs me come hell or high water. If it wasn't for her, her love of film and unwavering support of me, I wouldn't be doing what I am today and I can never thank her enough for that.

To support Dan's gofundme page, visit https://www.gofundme.com/s4sstcp8

Read our Film Gutter Review of Bloodshock 

<![CDATA[​FILM GUTTER TALKS TO ERIC ENGLAND]]>Thu, 12 May 2016 08:09:32 GMThttp://gingernutsofhorror.com/gutter-talk/film-gutter-talks-to-eric-england
Recently at Film Gutter we had the pleasure of watching and reviewing Contracted, a unique zombie movie with a strong body horror element. Pleasure might not quite be the right word, because this one had me squirming uncomfortably throughout. So, to find out more, we spoke to director Eric England on body horror, make-up, effects and much more...

Alex: First of all, thanks so much for taking the time to talk to us here at Film Gutter. Tell us a little about where the concept for Contracted came from.

Eric: It came from wanting to do a film that felt personal and intimate to the audience. I wanted to challenge myself to do something different than "kids in the woods" like my first film was. I also wanted to do something that felt a little more modern and different. To be frank, I had never seen a film like CONTRACTED and wanted to make one.

Alex: I felt this was a really interesting take on the body horror genre, which is a patch of horror that has always disturbed me. Is that something you're also a fan of?

Eric: You know, I actually wasn't as big of a fan (and wasn't really as aware that it was a "thing") before I made the film. I didn't think of the film as a body horror film, I thought of it more as a Zombie origin story. The body horror aspect of it was just inherent to the story of a girl rotting away and becoming one of the undead.

Alex: What do you think it is that makes body horror so disturbing and so enduring in cinema?

Eric: I think because it's relatable. We all have bodies and we're all terrified of losing control of them. So watching horrific things happen to someone's body just hits us in a place where we feel vulnerable.

Alex: Najarra Townsend was a great choice for the lead role – did she have any reservations about any of the scenes in the movie?

Eric: None at all. Najarra is a true professional and fearless actress. She felt so attached to the character and that's the best thing a director can have, an actress that takes ownership over the story and the character. She's a huge reason why the film works as well as it does.

Alex: There are some extremely clever visual and sound effects, especially in the very end of the movie. How did you go about delivering these?

Eric: I tried to make the film a steady escalation that built to a peak, so it made sense for the visuals and sound to get more intense and crazy - especially at the end.

Alex: I also though the make-up was wonderful throughout, really subtle – it almost seemed that Sam was getting worse scene by scene. Tell us a little about how all that was delivered.

Eric: She is getting worse scene by scene. I wrote what happens to her very specifically in the screenplay and worked closely with Mayera, my make-up artist to get a very specific vision and look. She was amazing at keeping track of her condition and look, so I trusted her immensely. We did tests and tried looks and honestly, the make-up is never enough if the performer doesn't know how to use it. So Najarra took it to a completely new level with her talent. So it was a beautiful marriage of design, execution and performance.

Alex: It's a fairly tragic story, as ultimately there's no-one Sam can tell the truth to about what is happening. Was that an angle you had in mind from the very start?

Eric: Yeah - I always wanted her to feel isolated and alone. Originally, the film was going to be shot in a foreign country (like Spain), where she didn't speak the language. I felt it would be even more terrifying for her to go through this process alone and then adding the fact that she couldn't speak the language -- I felt that would've been brutal. But we didn't have enough money to shoot outside of where we lived (we even used our actors homes to shoot in!), so we made do with what we had.

Alex: Horror cinema has explored this idea of the sexually transmitted disease a few times before and since – most notably in It Follows. What do you think makes it such an interesting area to explore?

Eric: We did it before It Follows ;-). I think it's because it's relatable. People have sex. It's human. So when you take something we do and something we enjoy and turn it against us, it's scary... Very scary.

Alex: Contracted: Phase II was out a few years after the first – what was your take on that?

Eric: I left the project because I wanted to do a sequel that did the first film justice and the producers wanted to make something fast and cheap to make money. That's what they did and I think the film they made isn't good. Too bad.

Alex: Can you tell us anything about your next movie, Get The Girl, or any of your projects beyond that? Things certainly look busy for the future!

Eric: Absolutely - GET THE GIRL is coming out in a few months I believe. It's a dark comedy crime thriller about a fake kidnapping gone wrong. It's hilarious and dark -- very different than what I've done, but I'm happy with how it came out and can't wait to see how audiences respond. Outside of that, I'm doing a straight drama called HUNTSVILLE in a month. I'm knee-deep in prepping that at the moment. We have an amazing cast that I can't wait to work with. And on the horror front, I have two new movies to shoot over the next year that I'm excited about. They haven't been announced yet, but they're going to be nuts. Bigger budgets. Crazier stories. I'm excited.

After a lapse in her relationship with her lover (Katie Stegeman) forces twenty-something party girl Samantha (Najarra Townsend) to move back in with her overbearing mother (Caroline Williams, The Texas Chainsaw Massacre 2), things seem to be at an all-time low. But the devil-may-care Samantha soon finds escape in a one-night stand with a mysterious man (Simon Barrett, V/H/S) who leaves her hung-over, guilt-ridden and infected. Uncertain of the disease or the man who gave it to her, Samantha attempts to hide it from her loved ones. But she soon realizes that she is not just the victim of an STD, but rather the host of something much more catastrophic, and that she and those around her are in mortal danger. Part zombie film and part body-horror shocker, director Eric England s CONTRACTED is a skin-crawling experience in biological horror.

<![CDATA[FILM GUTTER TALKS TO POLLYANNA MCINTOSH]]>Thu, 14 Apr 2016 08:50:34 GMThttp://gingernutsofhorror.com/gutter-talk/film-gutter-talks-to-pollyanna-mcintosh "I swear to god I'm a nice person but I sure play a lot of bad bitches.".... Pollyanna McIntosh 

Here at Film Gutter, we're more than a little familiar with the works of Jack Ketchum – The Girl Next Door remains a staple of many 'most disturbing films' lists out there, but for me even more striking is the stunning cannibal duology of Offspring and The Woman. A particular highlight of both of those movies is the superb, animalistic performances by Pollyanna McIntosh as 'The Woman' who plays such a key role in both movies. We had the opportunity to chat to Pollyanna about both those movies, and plenty more besides...

Alex: Many of our regular readers will know you from the Jack Ketchum/Lucky McKee duology Offspring and The Woman. What was it that attracted you to that project in particular?

Pollyanna: It was the writing. I just really loved the book Offspring and it was such a flattering part to get offered, it showed a lot of faith from my director/producer, Andrew van den Houten and I was excited to be let to run wild with the character. I think that was the first part I ever got offered without an audition, in fact. Then they decided I shouldn't die as intended in that film and so the idea of a sequel was born. When Lucky McKee came on board to co-write and direct The Woman I knew we were going to make something special. There was no question I was going to miss that!

Alex: Your performance in both of those movies was incredible - how on earth did you find that place as a performer to become so wild and animalistic?

Pollyanna: Thank you so much! I think we all have that primal side. Getting in touch with that character was a joy in preparation and in performance too. I'd recommend a holiday to animal camp to anyone!

Alex: Offspring for me is a hugely disturbing movie, and that's from someone who watches a lot of disturbing movies! Was there anything in the script or any scenes that made you feel uncomfortable at all?

Pollyanna: The whole film script made me feel uncomfortable!

Alex: The Woman for me is one of the most striking movies out there about gender relations - I don't think it's even been explored so viscerally. What was your own take on the message in that film?

Pollyanna: It seems to make a big impact on people and it does on me. I think the clearest message to take away is that trying to control and contain women does not work. The rage The Woman visits on her victims seems to speak for a lot of women.

Alex: Exam is another personal favourite of mine - a wonderfully twisty thriller. What was it like to feature in that one - was it a claustrophobic experience shooting a movie set in one room?

Pollyanna: You know that's a good question, it could have been but the walls all came away for maximum shooting potential so we were rarely fully enclosed. The creative team on that film was so talented, the camera and lighting departments such geniuses that I learnt a hell of a lot doing a one room film with them because the cast were rarely off set and rarely far from the crew so we heard all the machinations of preparation for each shot. It was a great bunch of actors too. Fun.

Alex: What can you tell us about your forthcoming movie, Native?

Pollyanna: It's a very sparse and beautifully themed sci fi with talented leads in Rupert Graves and Ellie Kendrick. I play the leader of a futuristic society. She's rather cold. I swear to god I'm a nice person but I sure play a lot of bad bitches.

Alex: While much of your work to date has been in films, you've recently been doing more TV work - including comedy Bob Servant Independent and kids' show MI High. How was it working in that sort of setting?

Pollyanna: So much of my British TV work has been with the BBC and they're an amazing institution we have. Working in TV is a faster paced, sometimes frustratingly so, setting but I've really enjoyed the cast and crews I've worked with. I love doing comedy and I've done a fair amount for TV now.

Alex: What can you tell us about Hap and Leonard, which is another series that you have out now?

Pollyanna: Hap and Leonard is a great new series on Sundance TV (available on Amazon Prime in the UK) based on Texan writer Joe R Lansdale's book series of the same name. It's set in East Texas in the 80s and is a buddy story of two unlikely best friends; Hap Collins (James Purefoy) a white, straight, divorced, ex hippie now jaded after spending time in jail for protesting the war and Leonard Pine (Michael Kenneth Williams) a black, openly gay, Vietnam veteran with anger issues. They run in to trouble thanks to Hap's revolutionary ex wife Trudy (Christina Hendricks) and the trouble begins and ends with mine and Jimmi Simpson's characters: Angel and Soldier. Angel is a lover but also a fighter. She's the muscle and Soldier's the talker. We make a fun pair of colourful killers.

Alex: You premiered the show at the Sundance Film Festival - how was your time there?

Pollyanna: I had a great time there thanks. The audience reaction was fab and having been to the festival a couple of times before I enjoyed going to old haunts and bumping into lots of filmmaker friends. It's really a great place to celebrate film.
Alex: Can you tell us anything about what you're working on next?

Pollyanna: I'm in the middle of production on my directorial debut, Perfect, which is a dark comedy and am in pre-production on a crime drama called Reciprocal Beat which I co-wrote and will play a meth addicted mother in (Liam Cunningham is the bad guy in this one. We worked together before in Let Us Prey and he'll be great in this role). I'm in the middle of making a video game too which is a lot of fun,

Alex Davis 

<![CDATA[FILM GUTTER TALKS TO KEVIN KENNY]]>Thu, 31 Mar 2016 10:18:50 GMThttp://gingernutsofhorror.com/gutter-talk/film-gutter-talks-to-kevin-kenny"Yes! I didn't really realize how much shit was going to be in this movie when I originally signed up for it. I didn't want to go through with the first shits smearing scene"
As far as I'm aware, our recent Film Gutter 'watchalongs' present a unique, social experience in film viewing. We began with the gloriously over the top Human Centipede III (Final Sequence) and that was swiftly followed by Crazy Murder, a movie I had been looking forward to watching for a while and one I was heartily looking forward to watching with many good friends and new acquaintances. And, just to make this one even more special, I was lucky enough to have to chance to invite the lead of Crazy Murder, Kevin Kenny, to join us for the experience. We had a blast watching his by turns hilarious and disturbing performance on this one, and having watched the move we spoke to Kevin on comedy, shit, homelessness and 'fucking megapixels'...
 First of all, thanks for joining us here at Film Gutter. How did you come to be involved in Crazy Murder in  the first instance?
Doug and I met doing improv at the Laugh Factory in Times Square.  We became good friends. Doug started talking about making a movie, and having me star in it.  All of his ideas were brilliant, but complicated. We were talking constantly about different ideas.
Then he had the idea for Crazy Murder.  It was a very practical idea. Crazy Murder exists because it was doable.  The entire film crew of Crazy Murder was just Doug and his Nikon with a microphone on top, and Caleb doing postproduction, out in LA, via Dropbox.  The 5K budget, which we were blessed to have, was all spent on props and special effects, like fake blood and makeup.  We shot on a single tripod, which you do not need a film permit for in New York City.  The fact that this movie got made and distributed still amazes me.  It must hold some kind of record for the lowest budget of all time.  Not sure.
The role must really have taken some getting into – 'The Killer' is a deeply disturbed homeless man with a penchant for murder and some disgusting eating habits. How did you tap into that sort of character?
To prepare for the role I would channel my anger and frustration.  The tooth decay makeup hurt, and the chocolate syrup that I had to pour on my face, was extremely uncomfortable!  They really helped me bring the discomfort and self-loathing to a very real place.  There were days when it was over 90° and I was covered in chocolate syrup.  I don't recommend that.
The movie is split into four seasons – was this how the film was shot, across the course of a year?
We shot Crazy Murder over the course of two years, in NYC and Hoboken. Then after the film was wrapped, Doug moved to LA to work on post production with Caleb, his best friend, coproducer, co-creator, and the brilliant man responsible for all the special effects, which would probably have cost over $250,000, in the real world. 
The movie had been wrapped for nine months.  I flew out to LA for ten days to shoot a bunch of new stuff they thought up.  The stuff we shot in LA was amazing.  I can't imagine the movie without it: James Quall, the dream sequence with ultimate fighters Mark Hunt and Brandon Ropati, twitching in the bathtub, and the bit on the side of the road, puking and completely covered in shit, were all shot in LA. 
I believe the four seasons thing was an afterthought in postproduction.  I had no idea that was even a thing, until I saw the movie for the first time. The way they edited these unscripted random bits into a linear feature was absolutely amazing to me. 
You recently joined us for our watchalong of the movie, where you said there was no script at all. How did the film get put together?
We had been talking about making a movie for so long that we just wanted to get the hell out there and shoot! When Doug came up with the idea, we were shooting almost
immediately. We didn't have time to waste writing a script.
Usually Doug and Caleb would discuss some kind of a storyboard the night before, but there was never anything written down.  When I showed up in the morning, or night depending on the call time, I usually had absolutely no idea what we were about to do. 
Certain shots were more specific than others. When we were shooting kills that involved special
effects, Caleb was on the phone from LA, telling Doug exactly what to do, so that he could paint in real knife blades, blood and explosive shit in postproduction.  FX shots were more tedious.
On the other hand, some days we weren't sure what the hell we were going to shoot.  We just walked around looking for shenanigans for the killer to get into.  I.e. "Fucking megapixels!"
You also described the piece as 'guerilla film-making' – was it literally just shot on the streets of New York, no sets or actors?
We had many actors. The people who died were all actors. Our murder victims were our actor
friends, or actors we found on craigslist.
We did not however have any background actors whatsoever.  Everyone passing by in the  background of Crazy Murder was just a regular NYC civilian who had nothing to do with the movie, and happened to be in the right place at the right time.  
In NYC, film crews are quite abundant. New Yorkers often get annoyed, because production assistants tell them to cross the street or wait a minute, so they don't ruin the shot.
We, on the other hand were happy to have people pass through, because we didn't have any background. We needed real people. 
There were no sets and no lighting effects at all.  Everything was shot with natural light.
Did you every get any particularly unusual or interesting reactions while you were filming?
Most New Yorkers completely ignored us. Tourists were more interested. They would ask questions. 
When Doug was there with the camera, they knew I was an actor. Doug had to run into stores from time to time, and left me standing on the street alone. One guy gave me money. I kept it just because it was too hard to explain, and I didn't want to burst his bubble. A woman tried to take
me to a homeless shelter. 
The film is genuinely disturbing in places, but also has touches of grim humour. Is that something you wanted to add from the get go? Some of the lead's 'rants' are hilarious...
Remember Doug and I met doing comedy. Doug is the most hilarious person I've ever met in my life. He and Caleb both have a sick sense of humor, like me.  There's no way the three of us could possibly make a movie that didn't have some good laughs in it. 
Was there anything in the movie you had reservations about doing, especially in public?
Yes! I didn't really realize how much shit was going to be in this movie when I originally signed up for it. I didn't want to go through with the first shits smearing scene, after the garbage throwing tantrum. We had to stop shooting. Doug had to talk me into continuing. I was afraid my acting career would be over. Who knows? Maybe it is. 
The other thing was, the baby smash. I was already wondering if we were going too far with killing a newborn baby.  Then, on the day, just as we were about to shoot the money shot, some guy was trying to get into his car at the garage.  Doug asked if he could wait a minute.  His car was already in the establishing shots. So the guy had to stand there and watch me smash this very real-looking baby doll's head, which was full of jarred tomato sauce, on the pavement. I felt like a total degenerate. 
The guy thought it was cool. He actually turned out to be an entertainment lawyer who I do believe Doug stayed in touch with.
There's a definite message at the heart of this movie about the homeless – what did you take out of the movie as its message?
One message is: cross the street, get off the park bench, and stay away from any guy covered in shit, who is cutting his dick. Dick cutting is a major red flag. 
To take a more humanitarian approach to this question... I definitely feel like society's view on mental illness is a little fucked up.  We see it as a weakness rather than a legitimate illness.  There are homeless people who cannot help themselves.  It is heartbreaking.  They have feelings of frustration, self-loathing and utter confusion, that they can't even understand or articulate, similarly to my character. 
So maybe the message is: if you think helping the mentally ill isn't your problem, The Killer might make it your problem.  That said, you should still stay away from the guy covered in shit, cutting his dick. Help him before he gets to that point.
Can you tell us anything about what you're working on next at all – what can we look out for in future?
I had a dream a couple of nights ago that we were working on Crazy Murder II.  I have a couple of projects in mind that I'm trying to develop.  I had a reoccurring bit part on an America talk show for a while, last year.  I enjoyed it.  I met great-great people.  Doug is directing commercials out in LA.  Caleb works for a huge special effects company, and he's worked on just about every impressive special-effects movie over the past five years or so. I'd list them, but I don't know if I'm supposed to. 

<![CDATA[FILM GUTTER TALKS TO ARTHUR CULLIPHER]]>Thu, 17 Mar 2016 09:51:00 GMThttp://gingernutsofhorror.com/gutter-talk/film-gutter-talks-to-arthur-cullipher"well, mostly. A good magician never explains. I'm more of neutral sorcerer, so I just explain vaguely."
In 2015 we reviewed a lot of movies, but there were very few that had the same kind of bone-crunching impact as Headless. Presented as a lost 1970s slasher, the story of our brutal, unnamed killer and his constant companion, Skull Boy, this was truly one of the most disturbing movies of the year. And we had the pleasure of talking to director Arthur Cullipher about this horrible homage to the field...
Alex: To start with a bit of background, tell us a bit about the relationship between Headless and the equally excellent Found.

Arthur: Found is about a young boy, Marty, who discovers his older brother, Steve, is a serial killer. Through the course of the film, Marty finds a videocassette in Steve's room that he thinks may have inspired his killings. On that cassette is a 70's era, grindhouse slasher called Headless. We shot about ten minutes of Headless and that's really all there was ever intended to be.

Alex: The movie absolutely lays out its manifesto in the first few minutes - was it a conscious decision to really go for the throat straightaway?

Arthur: Really, I just wanted it to be the genuine article. I would've loved to have been able to have included everything that we saw in Found, but it just ended up bogging the movie down. The compromise was to just take the best parts and I think, ultimately, it was the most effective choice.

Alex: One of the things I liked about Headless is that it had a good and well-developed backstory. Where did the ideas for this emerge from?

Arthur: Scott and I sat and talked about what we wanted to see. Scott wanted to see someone in a cage. So we put the killer in a cage as a young boy and gave him an abusive mother figure. I had an image of Skullboy crawling out of the woods while Mom was butchering a rabbit and feeding the caged boy only the head. That scene was transported nearly whole into the finished film. We approached the group with what we had and asked what they wanted to see. Everyone gave their contributions and Nathan cooked it all together into the story we all know today.

Alex: Shane Beasley in the lead role is brilliant, practically animalistic. What led you to choose him for the part?

Arthur: He originated the role. There was never anyone else I would have even considered. If he had said no, there wouldn't be a Headless.

Alex: It must have been great fun capturing that 70s feel throughout - is that an era of horror you're a particular fan of?

Arthur: Absolutely! It's sort of my comfort food. Those are the films I grew up watching. I was into horror at a pretty young age and was, honestly, somewhat disheartened by the slasher franchises of the 80's. Not because I didn't love those as well, but because, when other kids were old enough to be interested, that was all my friends knew of horror. “Oh you like horror? You mean like Freddy and Jason?” Well, yes, but no.

I feel with Headless, whether you like it or don't, unless your filmic education includes a vast array of underground horror and occult movies from the 60's, 70's, and 80's, as well as the mainstream, it might be easy to misunderstand why Headless is the way it is. I don't think I could be happier with it.

Alex: How important was it for you to have some of the comic relief that we get in the movie?

Arthur: That was largely Nathan's script, but as those types of movies are often unintentionally funny, we wanted to give some leeway for that to happen organically, as well. My primary concern was that it was as close to the 'real thing' as we could make it.

Alex: How did you go about achieving the special effects in the movie? Some of the gore is really unflinchingly presented.

Arthur: Really, the whole film is a special effect. One big special effect. I wanted to give those who did grow up on those sort of films some things they hadn't seen before, but in ways that were reminiscent of things they had. That should-I-be-watching-this feeling. I had an excellent effects crew and I encourage the audience to read each and every one of their credits and learn those names. You'll be seeing them again. We worked around the clock and only used materials they would have had back in the day... well, mostly. A good magician never explains. I'm more of neutral sorcerer, so I just explain vaguely. For those with eyes to see and all that.

Alex: I was fascinated with the 'Skull Boy' character - what's your take on that?

Arthur: He fascinates me, too. He pretty much just showed up to the party. It's not the first time I've seen a character manifest fully formed and it always lends a sense of the other to it. You can never be sure it came entirely from you.

Ultimately, Skullboy reveals himself to be more real than anyone else in the film or, rather, more pure. No matter what anyone else wanted, his was the plan that was executed.

Alex: And I have to ask... what was the Wolf Baby trailer all about?

Arthur: We had made a short film Dave Pruett wrote and directed, but we had vehicle issues and the film wasn't able to be completed. When Headless came around, we thought it would be great to have an appropriately styled trailer to precede it and Gnaw Bone, with a change of just 4 letters, became the perfect candidate. I know I'm not alone when I say, I hope the feature happens some day.

Alex: Finally, can you tell us anything about what you're working on next?

Arthur: I've got some acting gigs coming up, so be on the lookout for my deleterious mug to blight your home theatre soon. The next film I'll be directing is called SMUT, from my novella of the same name. It's about a cult of porn ghouls using an adult bookstore gloryhole arcade to gain the favor an outer dimensional god bent on assimilating our reality, while the 3rd shift clerk tries to decide whether he cares or not. He's got his own problems.

It's an F/X extravaganza. Based on a true story.

You can find Headless and keep up with Arthur's other projects at: www.forbiddenfilms.net

You can find Arthur on facebook.com/arthurcullipher and at arthurcullipher.deviantart.com


<![CDATA[STEPHEN BIRO ON UNEARTHED FILMS AND AMERICAN GUINEA PIG]]>Fri, 19 Feb 2016 07:08:27 GMThttp://gingernutsofhorror.com/gutter-talk/stephen-biro-on-unearthed-films-and-american-guinea-pigI was taking massive amounts of LSD and Nitrous Oxide to find God. Not only did I find him, but I also found the Devil

If you're a fan of extreme horror cinema, the name Stephen Biro will doubtless be well known to you. As one of the founders of Unearthed Films, as well as a producer and director, Stephen has been a hugely influential figure in the field for many years and has recently written and directed the first of what will be many American Guinea Pig movies. We spoke to Stephen in the latter part of 2015 about all things Unearthed, the revival of Guinea Pig in the US and much more.

Alex: Unearthed Films has been running since 2002, and you've been an integral part of that from the very beginning. How did the concept for the company come about?

Stephen: Well, to be honest, back in the day, the VHS bootleg day, I was selling the Guinea Pig Films and was hit up by the agent who was handling the sales of the films with a cease and desist notice. I surprised him, and gave him a call. His name is Paul White and produced Bride of Re-Animator, Society and The Unnamable to name a few. We talked, he picked my brain, I picked his and we decided to start a company and call it, Unearthed Films.

Alex: A lot of your early releases were from the realm of Asian Cinema – do you feel the quality of film from that region gets underestimated?

Stephen: I do but back in 2002 to 2005, it was a different time and people were going nuts over the Japanese horror films. Some amazing films were coming out due to the rampant DVD influx... but everyone was hitting up older libraries, new films were massively expensive and people got used to the crazy Japanese movies so the genre trailed off a bit. Even now... some of the newest Japanese films, with outrageous gore are losing major money, due to the torrents and piracy that a lot of people think is okay to do. I love Japanese films of all genres... wish I could release more but it's a losing business venture now.

Alex: How do you go about finding the movies to release? There's such a range, both in terms of style and international scope.

Stephen: Some I track down, some come to us and others... we work with the producers and/or directors to make. If you saw my list of films that I wanted to release, I think the horror fans would start a Kickstarter just to get me the money to release what we want to. LOL I myself, love the gore, old time Gorehound here but I love films that have something to say, hidden meanings and visually intoxicating.

Alex: You were the first to release the Guinea Pig movies in the US, which we've just finished watching and reviewing at Film Gutter. Do you have a favourite in the series?

Stephen: Flower of Flesh and Blood is my favourite. Mermaid in a Manhole is my second.

Alex: The American Guinea Pig series is another of your innovations. How has the reception for Bouquet of Guts and Gore been so far?

Stephen: Quite amazing so far. At first announcement, the whole Internet sighed and some people got pissed off. Then we announced the names I was working with, then some sighed some relief while others were still pissed off and then the reviews started to hit. Some film festivals wanted it, others were afraid of it but all in all, I am proud that so many people have enjoyed the film. A lot of people thought I was nuts to not only restart a new series, but to write and direct the first one. Needless to say, the fans are speaking and luckily, people are loving it.

Alex: Next up in the series is Bloodshock, and the first trailer looks incredible. What can you tell us about that movie?

Stephen: I worked with Marcus Koch as the FX wizard for Bouquet. He's been a great friend for over a decade now and I knew he directed 100 Tears and FELL. I wanted him in the directors' chair again so I pitched him the story for Bloodshock and he loved it. So I wrote it while editing Bouquet and we began to bring in the actors. Dan Ellis from Gutterballs, Hangar, Famine. Andy Winston, a local actor with the right look and panache to play the Doctor, Lillian McKinney who has worked on many films as the costume designer but her look and feel made her our top priority to get as an actress. Gene Palubicki, Guitarist from Angel Corpse and Perdition Temple had the perfect look and feel for the deranged Orderly and Alberto Giovannellii as the 2nd orderly. Bloodshock is premiered at Housecore Horror Film Festival #3 in October 13th to 15th.

What else can I tell you about the film? It has to do with blood and what chemicals are produced during surgical, mutilation and extreme psychological torture. It is totally different then Bouquet... as it should be.

Alex: Are there plans for more American Guinea Pig movies?

Stephen: Very much so. Working with another set of producer/directors for the third in the series and pitching the new treatment for the 4th and taking pitches for the next 2 films in the new series. The hope is to get a total of 8 films in the new series. No one is doing an ultra gore series of movies and no one has since the original Guinea Pig Films. I'm putting my pesonal stamp on all of the stories and screenplays and if luck is with us, I will jump back into the director's chair for the last one, bookending it.

Alex: The next batch of films through Unearthed looks superb, including the incredible Flowers, the only film we've scored 10/10. What are you particularly looking forward to putting out?

Stephen: Flowers, for sure. Phil Stevens really hit this one out of the park. Creeper was out on Sept 29th, my birthday actually. We just released Revenge is her Middle Name by Anthony Mathews and that's a real pot boiler of a grindhouse film. Faime De Morte hits the same release date as Flowers and then we have Madness of Many from Kasper Juhl coming out in December.
But then... we will be announcing Unearthed Classics soon... that should get the fans excited.

Alex: The company has certainly been expanding of late – can you tell us a bit about Unearthed Books and Unearthed Music?

Stephen: Unearthed Books... is me personally. LOL I wrote Hellucination which is my memoir. I know, sounds a little crazy to have a 40 year old guy writing a memoir but... a certain time in my life, I was taking massive amounts of LSD and Nitrous Oxide to find God. Not only did I find him, but I also found the Devil, went to Hell and dealt with all manner of atrocities. Needless to say, a lot of publishers found the book wonderful but were actually afraid to publish it... so I started UF Books. Released a number of books but... the market is flooded right now so we're taking out time releasing new books.

Unearthed Music was an opening I saw since the horror-core rap was not being distributed much less the speed-core techno music. I tried to get some metal, death and thrash but a lot of bands were afraid to sign contracts and were not really into it wholeheartedly so we just stuck with the amazing speedcore DJ's and vicious rap artists who had a drive to push beyond the simple shows and build a fanbase to move ahead.

Alex: Can you tell us anything about what you're working on next?

Stephen: Writing more screenplays, producing more American Guinea Pigs, releasing more titles thru Unearthed and starting up the new Unearthed Classics label.
For the very latest from Unearthed Films, check out http://www.unearthedfilms.com/

<![CDATA[ASHLEY C WILLIAMS TALKS TO FILM GUTTER ]]>Tue, 02 Feb 2016 14:02:30 GMThttp://gingernutsofhorror.com/gutter-talk/ashley-c-williams-talks-to-film-gutter I decided that finding the beauty
in the evil was what would get me there

In 2015, here at Film Gutter, we watched a lot of films. So when I say that Julia was well among the best of what we saw, that's not a statement made lightly. This is a tale partly of revenge, and partly of finding strength and growing in the darkest of circumstances, with a vivid visual style and a captivating lead performance from Ashley C Williams. With Julia just out on iTunes and Amazon, we spoke to Ashley about the movie and more besides.
Alex: First of all, thanks so much for taking the time to talk to us. Julia was a fascinating movie, a really interesting new take on some old horror tropes – how did you come to be involved?

Ashley: Thanks Alex! I was recommended to the Julia team by Christine Holder of Zero Gravity Management. They are producers on the film as well. I met with the director in Greenpoint, Brooklyn (where their production office was) the same night I was given the script to read. I really loved what I read. The character was exactly what I had been looking for. I was there for about 3 hours reading for the director and they did an HMU screen test on me as well. Two days later I was told by the producers that my audition blew them away and they wanted to do another screen test on me, this time with some different coloured hair wigs. On the evening of January 24th 2013, my manager called me and told me they offered me the role. Best birthday gift ever. 

Alex: You certainly seem to take on roles in some very bleak movies! What particularly attracted you to the darker side of cinema?

Ashley: Well I suppose the darker side is always more interesting to me. More challenging. Also I go for unique story worlds and the two films that I'm known for now happen to be very controversial and hard to watch films... Which was not my intention at all... It's just what happened. So not very many people know of my lighter side. The other films I've done and especially theatre work. Also if you meet me in person haha. 

Alex: The journey your character goes on is really powerful - was that part of what drew you to the role? 

Ashley: Yes. Her journey is awe inspiring. Everything about what she goes through. What she does, the choices she makes, all came from this broken, hidden, sad place and she needed something to propel her out of it. Getting raped was not exactly what she had in mind haha, but it did something to her. It was like the last straw. She was tired of hiding from the world. From herself, who she was, who she is. She was given an opportunity but unfortunately it took her down an even more dangerous road. Now she can never go back. However, at the end of the film she is stronger, more powerful than ever, internally. So some like to think the therapy actually worked. 

Alex: How did you go about tapping into the two very different sides of Julia?

Ashley: I didn't have a lot of prep time for this role. I was hired and we started shooting four days later. It was difficult. Every day I had to check in with myself, the character, about where she was at that time of the story, because she goes through such an arc and it's gradual. She really transforms and I did a lot of internal work for this role. The only physical transformation were her clothes and maybe more make-up. So I needed to somehow let what she was going through outward from inside of her. But not too over the top... She hardly speaks in the film and for good reason. Sometimes it felt wrong when I would utter a word because I fell so inside of her that I literally began to feel like a mouse in hiding... The most difficult part was letting go of that when she became this goddess... Ashley had to be OK with the choices Julia made... I had to find a reason for what I was doing. I decided that finding the beauty in the evil was what would get me there. It was a purely selfish feat... 'Cause it had to be all about her transformation and how these evil acts were changing HER, giving her strength.... Forget about the poor innocent men she was mutilating. But this got her out of the victim mindset. It was thrilling to be in that place.

Alex: Julia is – in a sense – a pretty quiet character, and I feel like there's a lot conveyed through body language and facial expression. Did this make it a harder role to play?

Ashley: Actually, no. But I don't remember thinking about whether my facial expressions or body language were being communicated properly... It was all my internal prep that came out in ways that I had no clue were being conveyed until I watched the film when it was done. I had to trust the director that what I was giving him was going in the right direction. Luckily, he hardly gave me any notes or had me do more than two takes.. So I guess I was doing something right. 

Alex: How do you feel that Sadie – and the relationship that develops there – plays into Julia's story?

Ashley: Sadie was a guide for Julia. She was also a direct witness to Julia's transformation and falls in love with that, with her. It's beautiful to see what unfolds with them, but again Julia is on her own journey and its tragic because you know that Julia is not in the same place emotionally with Sadie. Julia is "gone". She goes into a higher plane where no one can touch her. By the end of the film, no one is anything to her anymore, and that's why she could do what she did to Sadie.
Alex: Did you have any reservations about some of the more brutal scenes in the movie at all? There's some very strong stuff presented...

Ashley: I've been through this kind of thing before where I know that if there is something I am uncomfortable with I have the control to alter it. There were some shocking things in the script but I dunno, I guess it all made sense to me on why they would be there. I wasn't worried. From seeing the director's previous work I knew that those brutal scenes would be shot in such a visually stunning way that they would be more beautiful than brutal. 

Alex: What do you think the film says about gender relations? I felt a bit ashamed to be a man by the end of this one!

Ashley: I don't think it's meant to say much about that actually. A lot of people have wanted to put this film into a man hating category and it's just not about that. It's about Julia. It's about what happened to her. It's about her journey.

Alex: What can you tell us about the upcoming Selene Hollow? It sounds like a fascinating project.

Ashley: That project was fun. It's about this guy who leaves the city for a farm house in the countryside to write and muse over his life. Then the characters in his story he writes start coming to life. Weird things start happening around the house. I played a girl who auditions for zombie roles for a living, but she never books anything. She's this quirky weird girl and it was refreshing to play a more comedic lighter role. It was originally a web series and they decided to turn it into a feature film. I'm sure it's coming out soon! 

Alex: I really hope this is a breakthrough performance for you - your lead role is so well delivered. Can you tell us anything about what your working on next?

Ashley: Thank you! I'm very proud of my work in this film and I hope more of the world gets to see it. I have a couple feature films in the works right now... Not shooting until next fall though.

Julia is available to buy and rent now on iTunes, and is also available to buy on Amazon.

Film Gutter Volume 1 is also out now as an e-book, featuring our review of Julia, an interview with director Matthew A Brown and a host of great content besides! More at Amazon UK

Interview by Alex Davis

Rehab for anything can be a real bitch. Especially if an unorthodox treatment is sought but not followed to the letter. The result could well be psychological damage with horrific consequences. Enter Julia Shames (THE HUMAN CENTIPEDE (FIRST SEQUENCE) star Ashley C. Williams), a meek and mild clinician at a thriving plastic surgery business, who dates the wrong guy and ends up being drugged and gang-raped by his friends. Catatonic after suffering such brutal trauma she hears about a new kind of therapy being whispered about for her damaged condition as practised by the mysterious Dr. Sgundud. What that restorative cure entails takes Julia into a whole new shadowy area of her personality, one that teaches her how not to become a victim anymore and transforms her into an empowered Angel of Vengeance.

<![CDATA[UWE BOLL TALKS TO ALEX DAVIS ]]>Tue, 26 Jan 2016 11:22:50 GMThttp://gingernutsofhorror.com/gutter-talk/uwe-boll-talks-to-alex-davis“It is kind of sad to say goodbye to Bill forever …. the biggest mass murderer in American history...”
Love him or hate him, there's no doubt that the directing career of Uwe Boll has never been quiet. A prolific director and producer, his work has taken in video game adaptations including Alone in the DarkHouse of the DeadPostal and Far Cry as well as brutal original work taking in Seed, Stoic, Darfur and Auschwitz. It's also taken in boxing matches with his reviewers, scathing indictments of the Hollywood system and plenty more besides. Boll recently announced his retirement from filmmaking, rounding out his career with the final part of the Rampage trilogy, Rampage 3: No Mercy. The story will conclude the story of politically motivated mass murderer Bill Williamson, and promises to be an emphatic end to Boll's career in filmmaking.

Alex: Your work has certainly stirred up controversy many times, including scenes of real animal torture in Seed and brutal scenes in the likes of Stoic and Auschwitz. Is that a conscious decision, or something that simply follows in the films you choose to make?

Uwe: I tell the stories how they should be told — don't look away from facts — if you make movies like DARFUR or AUSCHWITZ …..they need to be in your face ….

Alex: I've just reviewed and enjoyed Anger of the Dead, which you were producer on - what can you tell us about that movie?

Uwe: Marco and Luca, my two Italian friends and producers did that ….. for me this kind of genre movie's made for the right price — still can recoup the budget —but even that is soon impossible to make.

Alex: You'll soon be completing the Rampage trilogy, with the first two movies (in particular the second) being hugely political and powerful. How much of Bill Williamson's beliefs echo match up with your own?

Uwe: Whatever he says is me…. I think he is dead on in analyzing the world we are living in….

Alex: Williamson to me is a very compelling lead character, really well played by Brendan Fletcher. He's appeared in a number of your movies before - was he someone you had in mind from the start, and did Brendan have any input into the character?

Uwe: Yes... Brendan gets his co writer credit because he is BILL and refines his scenes and all his dialogue ….. He is a great actor and I saw that already 2002 when I had him in HEART OF AMERICA.

Alex: You recently announced that Rampage 3: No Mercy would be your last movie. What can audiences expect from this final offering?

Uwe: We finish the story and we go out big. We just finished shooting the movie and we did big action — 40 explosions and and and….. It is kind of sad to say goodbye to Bill forever …. the biggest mass murderer in American history.

Alex: You've been very famously anti-Hollywood, including in your recent YouTube video concerning the Rampage 3 Kickstarter. Was this a system you ever wanted to be part of, or was it something you always sought to avoid as a director?
Uwe: Hollywood didn't want me and didn't support me…. so I had to create my own workspace — and my own financing. The positive thing for me was and is that I don't have to kiss asses there and I can say everything what I want …. I can point out the absurdity of the system and the lies and bullshit the people living in.

Alex: 2016 marks 25 years since your first movie - what were some of your personal highlights for you across your career?

Uwe: The shooting of POSTAL was the biggest blast I ever had as a filmmaker ….. every day on set was another highlight. Shooting STOIC in the jailcell was amazing — we could actually shoot that movie in one day — like a stageplay … the actors were ready to do it. Shooting DARFUR and TUNNELRATS in South Africa …. telling those important stories — was great and the country is just stunning. Shooting all RAMPAGE movies ….. doing scenes against any norm —and being political CLEAR and saying how it is.

Alex: Will you be looking back on your career as a director with any regrets at all?

Uwe: Of course ….but I justify what I did…  the movies I got the worst reviews for …. like HOUSE OF THE DEAD and ALONE IN THE DARK made money and me popular….. Got me access to name actors.

Alex: What will you be working on next as a producer with Event Film - anything you can tell our readers about?

Uwe: I always look for movies we can worldwide sell and I’m happy to have KING COBRA with James Franco and Christian Slater —what we will sell in Berlin in February.

Rampage 3 is released in Summer 2016. You can check out the trailer at https://www.youtube.com/watch?v=giwzp1SWSBk

Film Gutter /film-gutter.htmlwill be reviewing some of Uwe Boll's movies in February, including Rampage 1 and 2 – visit http://www.gingernutsofhorror.com/film-gutter.html for the very latest in extreme horror reviews!
<![CDATA[FILM GUTTER; BREE OLSON ON THE HUMAN CENTIPEDE III: FINAL SEQUENCE]]>Mon, 21 Sep 2015 09:07:09 GMThttp://gingernutsofhorror.com/gutter-talk/film-gutter-bree-olson-on-the-human-centipede-iii-final-sequence
'I was treated like a princess...'

In our recent coverage of the Human Centipede III: Final Sequence here at Film Gutter, we were lucky enough to talk to director Tom Six and star Dieter Laser. But the American setting of the final part of the trilogy saw some fascinating US casting – Eric Roberts in the role of a crooked governor, former professional wrestler Tommy 'Tiny' Lister as a prison inmate and of course Bree Olson in the role of Daisy, Bill Boss' put-upon secretary. We spoke to Bree recently about her role in the movie, her work in comedy and much more...

Alex: First of all, thanks a lot for taking the time to talk to us here at Film Gutter. Much of your recent work has been in comedy - was that always something you wanted to do?

Bree: It's not something I expected but it's what I'm naturally best at in terms of acting so that's why I think I gravitated towards it.

Alex: The Bree Does Comedy web series seems to have had a great response so far - are you pleased with how it's going to date?

Bree: It's all done and will be on my YouTube channel OfficialBreeOlson as soon as editing is over.

Alex: Last year's Camp Massacre was your first horror movie - how did you find it switching to that genre?

Bree: It was fun, I love working on all types of sets.

Alex: Of course we'd love to know more about your role in The Human Centipede III: Final Sequence. How did the role of Daisy come about in the first place, and had you seen the first two movies before you were approached?

Bree: I just auditioned for it in Los Angeles. I had seen 1 and 2 which I think they were impressed by.

Alex: When we spoke to Dieter Laser about Final Sequence, he told us about the doubts he initially had when he saw the script. Was there anything in the movie that you had reservations about?

Bree: No, I thought the script was well written – I liked the first two so I wasn't concerned.

Alex: Obviously Tom, Ilona, Dieter, Laurence and a number of the other actors had worked together before. Did you feel welcomed as part of the Human Centipede team?

Bree: I was treated like a princess on set. Watching the premier was difficult for me because the set and treatment I received was so glamorous- it's amazing how they edit it all together to look so brutal.

Alex: And one I've never had the chance to ask anyone - how was it actually being a part of a Human Centipede? How did the effects work for that?

Bree: I was literally in the centipede for about 60-120 seconds. They drove me to the area from my trailer in an SUV – I was rushed to my spot – everyone cleared the shot – they shot and then I was rushed back into air conditioning. I'm telling you – they were amazing to me.

Alex: Would you consider working in horror again, given the right opportunity?

Bree: Of course.

Alex: Can you tell us anything about what you're working on next?

Bree: I'm going home to Indiana to focus on writing for a few months –with what – I cannot say.


Alex Davis 

<![CDATA[FILM GUTTER:  TOM SIX AND DIETER LASER ON THE HUMAN CENTIPEDE]]>Thu, 16 Jul 2015 05:41:51 GMThttp://gingernutsofhorror.com/gutter-talk/film-gutter-tom-six-and-dieter-laser-on-the-human-centipede'In real life, you don't do things, but in fantasy everything is possible...'
tom six interview dieter laser interview human centipede  Picture

Last week, we offered up our review of The Human Centipede: Final Sequence and also a report from the UK Premiere at Nottingham's Broadway Cinema, courtesy of Mayhem and Eureka Entertainment. And here, to wrap up Human Centipede month here at Film Gutter, I'm delighted to present my interview with the wonderful Tom Six, director of all three movies in the trilogy, and star of First Sequence and Final Sequence Dieter Laser.

So, here it is – brace yourself...

Alex: Thanks so much guys for taking the time to talk to us here at Film Gutter. The first thing I want to ask is to track back to the start basicially. Tom, you and Ilona were really determined to get Dieter as your man for First Sequence. What made you so dead set on that? It's quite unusual for a director to have that one actor in mind.

Tom: I was browsing the internet, thinking, looking, what kind of man must play that role. And I came across a photo of Dieter – I'd never heard of Dieter yet – but I saw this photo and I instantly, instinctively knew that this was going to be it. So we looked him up, and saw that he had done so many films and television and was very big in Gerrmany, a great German actor. And I knew I wanted him, nobody else. Then we met at the Berlin Hilton and we had such an amazing chemistry. I was a happy man. No other actor would be perfect for this role.

Alex: Dieter, It's quite famously said that you had some doubts about appearing in both the first film and the third film when you saw the scripts. What was it that persuaded you to stay on board?

Dieter: It's a very strange pattern. Tom in both cases – Tom is a brilliant storyteller, and when we met in Berlin in the Hilton he told me the whole film, his whole vision, even with camera angles, with everything – it took the same amount of time as the film would last. I was so impressed and we are brothers in passion, because I saw the passion in his eyes and that's the most important point for me – the passion. And I heard and saw the skills, the competence, the passion and the visionary stuff. I was so excited I jumped up and said 'Sir, we have to do that'. We had a handshake contract in five minutes.

So then, the script came home after a while and then I realised – only the one digestive tract! And suddenly I had been in the cinema first and saw the film that he [Tom] told me in my mind's eye. Now I had a script and it's written down and it's real and it's one digestive tract – oh – and I saw the poo flow and I was shocked. And I said 'I'm a serious German actor, I have a reputation to lose... Wah wah wah, lament, lament...'

And then I said to myself, 'Sit down on your ass, idiot, and start working because you have a contract and a contract by handshake is a contract as well. So don't lament.' So I sat down in the early morning hours as I mostly do to have the silence and the fresh brains and I sit – without any clock – four or five, it doesn't hold me. If I don't have a script, then I sleep until 11 or 12, but with a script I jump out of bed at four o'clock in the morning. Sitting in my kitchen with green tea or coffee or something like that, staring at the lines and thinking and meditating and so on. So I started. Then I thought, and I suddenly discovered in the script that he has many philosophical, hidden, artistic stuff under the entertaining layers. And they have to be hidden because otherwise they won't develop their subliminal power. So then I discovered – I though, wait a minute, idiot Dieter, my dear friend. Think about it – Dr Heiter, in his former life, has separated twins. Who, from the German clowns of the Nazi time experimented with twins? Who was that? The Angel of Death, Dr Josef Mengele. And I thought: ah, the possibilities, the chance to kick my ancestor's generation in their anal retentive ass, full power! That would be a joy, wonderful fun! And I called Tom and said, 'May I call him Josef?' and he said, 'Now you've got me, my friend. We will do this!' And then the fun started.


The third part was more difficult. Same reaction, but there we had a meeting in London and he told me that film. And I saw that film and I saw myself and I said, 'Let's go out of the hotel on the street and I will show you how he will walk, in which style he will walk' and Tom said, 'Yeah!' And already we celebrated and drank a lot and started already developing the character. But in this case it took a long, long time until the final draft came to me at home. And again, I had a contract already. And the final draft arrived and same pattern as the first – there's written 100% politically incorrect and this political incorrectness I took German-like, like a Nazi. I took it 100% too serious, every word, one to one. And I said, 'Impossible, I will never ever appear on screen raping a woman in a coma. I don't like to eat dried clitorises. I don't like people watching that. No, no, no!' So it escalated. I was so stubborn and blindfolded that I said 'You have to change horses, I can't do that!'

And Tom, he has balls. He is daring, for sure. He didn't change one word. He didn't give in. But, he never gave up trying to convince me. And finally, in a four-hour meeting in the Sheraton Hotel at the airport in Amsterdam he managed to open my eyes. He said, 'Dieter. Co-me-dy. Co-me-dy. Black co-me-dy. Vitriolic, hilariously...' and then I thought, 'Oh yeah. Mm-hmm.' Not to lose face too fast, I said I have to go outside to smoke. And I had a smoke and then I come back and I say 'Sir Tom, we have to do that!' Because now the cartoonish possibility to go so far over the top that it politically gets its countershot. 

I'm so thankful that he never gave up and then we started together in that historic place – Sheraton Hotel, Aiport Amsterdam – we met once in a while, every four weeks, and together developed and added the tiny details to Bill Boss. And so Bill Boss, I'm his creature but it's also our child. Our homosexual child. 

Tom: It is, it is.

Dieter: We fucked long enough to give that child birth. Bill Boss is our child. We are so happy that now marriage is allowed in America. Maybe we have to go to America and get married there.

Tom: And have many more children.

Dieter: Many more children.

Tom: Anal births!

Alex: That's a beautiful image... One of the things that has really interested me about the trilogy is that every single film is so different. Almost the only thing tying them together is that sort of underlying concept. Were you worried that people would watch number one, and then come to number two and number three, and think 'I don't get some of the others'? Was that a worry at all?

Tom: I didn't want to repeat myself. People are used to seeing the same film, but worse. So people when they saw Part Two were very confused – they were like, it's a completely different film. But I want to give myself energy and make something else. Otherwise it would be boring.

Alex: It's quite rare in a horror director to have that attitude!

Tom: Absolutely. And I made a totally different film. Part two is the opposite of part one.

Alex: Absolutely. It's interesting because Part One had such a media reaction when it came out, but when you watch Part Two you think this is more shocking, sort of visceral, really in your face...

Tom: People wanted to see that. 

Alex: It's much more subtle in the first film.


Tom: They watched the first film and said 'Where's the shit? We want to see that flying!' And I gave it to them, like heroin addicts, and then they went over the top! This is crazy! They asked for it.  

Alex: I'm about to settle down to watch the third film. What can we expect from that – is that another step further, in your eyes?

Tom: Totally different film, and this time, Part Three is the most darkly funny of the set. I came from the idea of punishment – which I didn't use in Part One – but now I thought it has to be prison, and I want to take the original leading actors from Part One and Part Two and give them completely different roles.

Alex: It's a great idea.

Tom: I like the idea. It's great for the actors to reinvent themselves and I also wanted the characters again to be totally opposite. Like Dr Heiter is this very meticulous, soft spoken... he knows exactly what he's doing. And this is like an outrageous asshole, everything is too big, and somehow he's stupid and he's impotent almost.

Dieter: He is a yelling, idiotic child. You could kill this child, because he's very childish and he's stupid. And that makes him outrageous and evil. But there is another level, it's also a desert snake, a creature of evil in the disguise of a warden. And thi s cartoonish comic strip allows you to go that far. That's what I didn't see in the first place is the possibility to gain a height and a beyond and from that point it will shoot back. And that's interesting.  

Alex: I wanted to ask a question, and it's something that comes up for me a lot when I'm doing the series of reviews and interviews. Do you think there's a point that is too far? Is there an idea you would have that you would say 'No, I won't do that?'

Tom: No, never. 

Alex: I suspected you would say that!

Tom: I never censor myself. Because in art and in film you have to push boundaries and explore new territories. I like that idea. If you're a writer and you hold yourself back that would be stupid, because maybe someone else does it. In real life, you don't do things, but in fantasy everything is possible. We do things with latex, we have so much fun on the set, it's all fake. 

Alex: The effects are incredible, it's something that really looks so believable. 

Dieter: On the other hand, the reality always confirms.

Tom: That's true.

Dieter: Think about the comic strip ISIS. Think about that. Head rolling idiots. Pfft! Is Part Three going too far? No, it shows the slaughterhouse we are living in. We are enjoying that because we think we are safe. And we only have to wait a little bit until our heads will roll if we don't watch it. And to watch it we have these wonderful films. But, you know, if you see the idiots from ISIS on television talking – or acting – I know, it's Centipede Part Four. 

Tom: It's so true.

Alex: And now you mention Centipede Part Four... I'm just going to throw this one out there, was it something you set out to make as a trilogy from the very beginning? Was that always the aim?

Tom: Yes, because the three films make a movie centipede. They can literally be connected because Part Two starts where Part One ends, so you can literally edit them together and have one four and a half hour film. I was playing with that idea always but you have to wait to see if the film becomes a success, of course. The masterplan was always there.

Dieter: What we have tonight in reel – we have tonight a little festival of the movie centipede.

Alex: And there's a real thread of meta that runs throughout, which I think is fantastic. I love the fact of Martin being so obsessed with that first film throughout Human Centipede 2 and Tom, you're appearing in the film tonight, so this continues on. 

Tom: I play with those elements, I love it.

Alex: I've never seen it done quite that way in horror.

Tom: Part Two is a reaction to Part One, and Three is a reaction to Two and One. In the press, in the media, what's going on... 

Alex: I love the scene in the warehouse [in Part Two] where one of the characters shouts 'It was just a movie!' It's a great line that sums all that up. 

I'm going to ask this final question – it's obvious from the very get-go that you guys had fantastic chemistry, love working together, and that you've had a blast on all these films. Are we going to see more collaborations in future?

Dieter: Absolutely. Absolutely.

Tom: Dieter and I love working together.

Dieter: That's my dream team. Sir Tom, Lady Ilona and me – we have such an incredible chemistry that it would be idiotic not to continue.

Tom: Absolutely. But in our era it's difficult to get the finance and stuff, so creating films takes time. It's hard. It's the hardest thing to make a film. But I want to work with him [Dieter] until eternity. 

Alex: Is there anything you can tell us about, any hints you can drop?

Tom: No, no. 

Alex: I had to ask, just for myself as much as anyone else! Thank you so much for taking the time to talk to us today, and great to meet you both.