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Master’s of Terror: Cyberpunk Horror (Ep14)

February 15, 2020


(music) I made a movie for full-moon
earlier in 2000 called
Witchhouse 2 blood coven and one of the pickup shots was
sequence that opens the movie
out in the middle of the woods that we actually shot back in LA and it ends with a guy
being just brutally chopped up
and murdered (screams) that guy was Danny
Draven [Music] Danny later went on
to to take over the reins on
Horrorvision Horrorvison
is a combination of old
Hollywood film noir with a more modern cyber
hacker type edge to it horror vision actually started
life as a project called
Fear.com which is a project that Charlie had been
planning on doing for a number
of years that had a number of other directors
attached to it and I was
supposed to do the mummy reborn and that project didn’t
happen so then it became fear
.com and I wanted to write a new script they had an existing script for it when it was called
horrorvision.com but I
wanted to come up with something that was my own so I
had a friend named Scott
Phillips who had written the movie called drive
that Steve Wang did it was
one of those real high-energy you know chop-socky
kind of cliques and he’d
happened to be working for me at full moon in
post-production at the time so
we started talking and I said hey Charlie what’s going to
do this fear.com thing and
you know I had some ideas and I threw him out to him
I wanted it to be kind of
a cross between Videodrome and a movie that I
had done years ago ozone basically in the thematic
thing was was to have it
be some horrible tragedy befalls a guy and he
spends the rest of the movie
trying to figure out what it is that’s happened to
them and it’s a pretty common
thing but what worked about it in Ozone was the fact that it was so threadbare there
wasn’t a lot going on in the
movie it was what happened to him that was that
made it the way it was and
the style put behind the movie so my version of fear
calm was that was it was a
similar story it was about a web programmer who loses
all of his you know toys
basically I mean it was basically you know my
greatest fear come to life this
sort of apocalyptic world that they live in you know
is it’s kind of the world
it’s it’s it’s an end-of-the-world kind of story
but an end-of-the-world where
it’s not God coming back it’s not a nuclear explosion
it’s technology and technology
is what it will destroy us
ultimately when I decided not to
direct our vision I I was
faced with sort of an awkward task is to find somebody
that could take it that I
trusted to do it some justice so that it would
least be some semblance of
what I had had you know intended and that’s not
always an easy thing having
produced movies for other people generally those
were projects that I was
not as creatively involved in their development I
mean I might have steered the
ship but they were generally things that that writers had
given and they wanted to
direct it so that was always
a different thing with this it was actually
something that I had developed
had always intended on making really like the script
and now was faced with just
total exhaustion from doing Witchouse 2 to and
and deciding okay I have
to give this to somebody else Danny Draven was
somebody that I had met through my old friend was upstairs hanging out at
JRs and he I was I was
sitting downstairs reading Fangoria and JR
comes downstairs and re
Arianna was sitting next to me she’s like she’s like
she was on her laptop she’s
like oh you’re gonna be excited when
JR tells you what he’s gonna
tell you and I was like oh what’s he gonna tell me
I think I said something like
either said things are gonna get a lot better or a
lot worse I can’t remember
what I said and he looked at me like mm okay
what is that all
junior came desk JR came downstairs and said, oh
Dan, you know, I’d like to talk
to you for a second oh okay, what’s going on? He’s
like, so… so uh how would you like to
direct horrorvision uh, okay originally he was we never
didn’t have a function he was
just a guy that was gonna help us make this movie
and I had given him the
script and he really really liked it I mean he I
think he saw this movie better
than I saw this movie and he is like a complete techno
head so
it’s kind of I think
the final piece of the puzzle was Dan had given
me a short film that he had done
called the worm family to be honest with you I think the biggest thing was it
wasn’t even so much the short although I was very
entertained by the short it was
the behind the scenes footage they gave me that I
thought where I actually saw
him working and saw that you know in making a movie
was this weird sort of like
DejaVu thing like going back in time and seeing
like you know some it’s like
somebody like Sam Raimi when I had done the dead
next door must have seen when he
was looking at my stuff saying I should hire this guy, this guy
should make a movie for me he had from
day one when he was
assigned and he got this movie a vision and I think
that’s that’s what makes this
movie great because it’s important when you’re producing
movies my theory is don’t
fight the director do what he wants put it up
on the screen I said this is fabulous when
Charlie and I discussed the
series of movies certainly one of the big things
that that would set even
these lower budget movies apart from stuff that I
had done earlier was a
professional director of photography I mean that is the
person that makes your movie
look the way it’s going to look so Charlie has had
a long-standing
relationship with Mac AlBerg and Mac goes back to you
know parasite with Charlie
I think was their first movie and has done
reanimator and you know he did
innocent blood for john landis he did you know striking
distance he’s done a ton of
movies here’s a here’s a guy that has worked
with a Ingmar Bergman in Sweden
and he shot some of my favorite all-time favorite
horror movies namely
Reanimator and From Beyond you know when when
Charlie threw out the suggestion
was like is Mac gonna want to do this isn’t this
too small for Mac
but no Mac which completely up for it Mac is one
of those people that the
less you give him the happier he seems to be because
he will make something out
of that he will you know if you tell him well Mac
here’s a camera and we’re not
sure if we have a tripod today but didn’t you
shoot anyways I mean he
would he would probably could you know go well
I will do what I can you know I’m rushing him along
we’ll come on get this get
this tomorrow in Burbank and you know there’s 20
pop cars around so I’m
sure he got really irritated with me I mean
this great worklist and you’d be surprised and how
well he adapted toy low-budget
filmmaking god i swears it this was a baby that
came out sideways and through
the casting this movie and i don’t know why we had plenty of good people read for
us but for some reason it
was just very tough to pin the people down the
easiest one after we knew
Arianna was gonna play jazzy was Maggie Rose Fleck sadly she was the certainly the best
actress it read for it honestly
I was reading I was in the tub and I had the
candlelight going and I
actually started to get scared and I thought is this
the reaction it’s supposed to be getting you know
because there are these
creatures that I really have no idea how that what
they’re gonna look like in the
end I don’t know if Dazzy knows
about synth so she may have seen me from the monitor
I’m not exactly sure how the
technology works if she could interact but I mean if
you could I think in her
eyes watch her eyes because they kind of dart you
know over dad’s shoulder and
that’s where I am and so, she’s looking at me
I think for a while poor Maggie
thought she wasn’t gonna have any other cast to act with
because it would for a while it
certainly seemed like there wasn’t gonna be and in particular the part of dez was
like a on-and-off-again thing we
went through at least two different people and the original guy who was our choice
which was Jake wound up not
you know working out for whatever reasons and it
was a total misunderstanding
on my part in on his part we you know thought he
wasn’t gonna be willing
to work under the parameters that we were doing
these movies and the lower
budgets that came with them and and it turns out
he really wanted to do it
very badly and we had moved on to somebody else he
didn’t really work out and then
we came back I came back to him and said well guess what this rarely happens and in
the film business but you
got another shot at this and we want you to do it
and and he was you know a real
trouper about the whole thing and he certainly
didn’t have to because we put
them through you know the usual hell that comes with
no budget filmmaking well we jumped right in I mean
I found out the day before then we were
gonna be shooting he just
jumping right in with going day to day we were
getting the sides for the
the pages for the next day and we’re just
going it was the schedules
almost probably one of the toughest things and and but it
was also very
exciting and very fun we just had a blast so I’m
really glad that we got him in
the movie and he was just a doll to work with I never
complained went through
how active it was burning up in the desert and
they’re all wearing black and
he was just really good and we had a lot of fun
with my fun with our
scene and the really interesting thing about Jake is
it was really weird for me
at points because I’m a big Bruce Campbell fan
from Evil Dead and you know
learn me a darkness and all that stuff and every now
and then you’ll be
acting with them and you’ll look over and it’s like
hmm that’s really weird
it’s like you’re acting with somebody else and
he’s got a really good sense
of humor like Bruce too so it’s kind of interesting James black started with me in
1991 back in Akron Ohio or as we like to refer to it Action Ohio and he was actually
a college friend of my
guy who produced a bunch of my movies in Ohio Scott
Plummer and Scott and James
were little class clowns which did anybody that
knows James black this is a
stretch to think that James black could be a
class clown I’m sure he puts that cape on
from Horrorvision every morning
and walks around and tries trying to get some chicks on it
or something I know he still wears that cape
around the house I still got the cape. so i wear
it when I’m sweeping around the house
cleaning up you know usually
when I make my bed I have the cape on, ozone was a
movie that was largely made predominantly with James and I
he is the kind of actor that is
willing to just do whatever it takes to get the
movie done I’ll pitch in
wherever and that not that I haven’t had that experience
with other actors who the
plenty of other actors have have but with James it’s
not even an issue it’s
like what can I do is there something I can do to
help you know I mean he’s
not so much anymore please mr. Hollywood now there
was no audition process
because I’ve known jr. for a long time he was I think
that when the character was
written he had me in mind to begin with which was a
very compliment and I was
fired after Ozone James left me and my Hollywood
he made me getting
coffee to be in the movie he said James if you get
me coffee and it’s good coffee
then can be in horror vision Bradbury I mean he’s actually a martial artist you know so
he’s come up to me we’re
talking about what we’re gonna do and he’s like yeah you
know I’m thinking of doing a
little like he’s going like faster than that cuz
I don’t have any training you
know he’s like twice as fast I was like oh my god this guy’s gonna kill me you
know James black he’s uh it’s a funniest man he’s a blast
the Cape actually was I
found it at full moon in an old box and I looked
at and I was like wow
this is cool we should put Bradbury in this
so now you see it in the movie the part was written for him the
whole bradbury thing and it was sort of a
tie to Ozone which I always
felt like horror vision and was kind of a sister project
from ozone you know one of
the things about full moon which I like is they
let me do my own stunts I
mean I can do my own stunts and other things but they
let me like go at it I got a
chance to fly through the air and you’re gonna get to see that that’s a lot of fun and
wrestle with monsters you
never get chance to do that enough it seems was
interesting one to work with he
was he was a strong character at the original
read-through he was changing the
lines before we even heard the first way they’re
supposed to be written we’re
also now working on his the vault which is going to be
directed by James black synth was really interesting
role to cast because we went
through many people originally it was written for
the this other guy that JR
knew and he backed out at the last minute and then
we were gonna change it into
a girl which was interesting the director wanted
to change it to a girl
because I had originally said no Alec sent the
girl because I want to
play that part you know so we made sense a girl and
we cast another girl and she
was unable to do it because of scheduling conflicts
so finally we were going
through all the tapes and I was like oh gosh
it’s just a wonderful work he’s such an interesting work
and he really had a great
personality he really wasn’t right for DES but we need
to really utilize
that personality somewhere so we thought oh great
then seems like I sent him
horrorvision that’s awesome when he shot and got
killed and the whistler was I
mean you never know cuz theres a following and you, no every
movie has millions of dollars to work with
but it is challenging at times was fun too cuz you know you don’t have a lot of
rehearsal so it’s like
okay this what we’re doing do it another thing about
Josh who’s real trouper because
for some reason and he had this allergic reaction to his makeup and it’s pretty
scared of makeup that
everybody uses in Hollywood and I just remember getting this
call and set and makeup artist
Michelle was just like oh you have a problem and it started to really spread up his
arm and he was just like
really we’re gonna have to take into the hospital we’re
getting so worried that Senate
you know we called a couple people and he was fine again a real trooper he only
sought one day with us
you know I’m very excited to be there but then at
the same time when we start
seeing wet wire and all kinds of weird creatures you
know just like anyone else
you like oh my god what the hell is this and you
know I thought I was going
to some great party and then I end up getting fried
and I do think that jazz in
Bradbury they did get attached him I mean there was
love that I mean the look at the scene fix their eyes
love the hair this works Ward bolt of the
photographer is sort of a long
story but the short version of it is I had met a guy
named Mike Rasso years ago
probably ten years ago or more Mike and I had kept
in touch through the years
and he eventually decided he wanted to become a
distributor and put
out a bunch of movies and he used my library of
movies as sort of a guinea pig
to get his label started and then eventually built that up and somehow I’m not entirely
certain that he had
gotten ahold of a photographer in LA in a war bolt
I tried to stay within myself
to keep it simple and look to the model to to give
me something because it’s
both of us and if I’m shooting to Brinke Stevens
or Linnea Quigley Linnea Quigley I have to be
open to what they bring and and
um I just try to keep it that
simple [Music] [Music] Brinke Stevens scream queen another thing
I liked about the movie was
the fact that I probably died more times than
any actress in Hollywood
and this was a new one the act by pixelation I’ve
never had that happen before
yeah I loved working I mean I I grew when I when I
was growing up I saw sorority
babes in the slimeball bowl-o-rama on like USA up all
night and I loved it I don’t
know what it was about that movie I just it was
like Gilbert Godfrey
hosting it or something but it was uh it was just great
I loved it I loved that
little imp even though it was the cheesiest looking
thing in the world it was just
it was just funny it was hilarious what you see
behind me here is some of the original artwork which was
never used for sorority base
back when it was still titled the IMP probably
nobody has ever seen this and
horror visions director Danny found this in the dumpster at full moon they
were throwing it away so I was really pleased when the
director Danny Draven wanted me in the movie
they are asked me about her
vision and I thought it was a great script I said
absolutely it’s the first
time we got to really work together on a film jr. calls me up to offer me the part in horror vision and
says that I die on page ten well it’s getting worse next
month I shoot a movie where a
guy on page three this is a trend that has to stop
soon brink has this great
scream you know we got that great cuz she’s such a
pro even death scenes do
require some acting for example I’m supposed to be
facing computer monitors and
seeing something horrific on the screen when
actually it’s just a white
bounce board with a light in front of it to light my
face and then there’s two
guys on either side of me and one person behind me
that our cable Wranglers and
then we’ve got these weird long plastic tubes and
things and they’re shaking
them and the noise for one thing is frightening enough
but they shake them up over
behind me and around me and start choking me with it
my hair is getting tangled in
the cables and being pulled out and everything and I’m trying to scream and pretend any
angles so that was really
cool it was fun to do [Music] david barton and i go back to
1978 when we were in seventh
grade and we were reading some scholastic magazine
in junior high school that
had star wars on the cover some we were fighting
over it or something and we
both realized we were star wars retards so we
decided that you know we should
you know movies you know we were always had this competitive thing as far as
making movies together
growing up eventually he decided to go into makeup
effects i decided to stay making movies his first real
break at that was the dead next
door when where there was a you know a big chunk of it that he
did he and i didn’t had
kind of gone in different
directions for a number of years and then i think it was ozone actually going back to
this being a sister project of
her vision that sort of i called him up out of the
blue instead of making
this movie for ridiculously cheap and i need
this this this and this and he
goes okay well do it you know it was more of like
a charity effort than
anything else let’s talk cash horrorvision you know we
have this ball which is pretty
much a death star model it’s been painted and we
rolled it down the hall and add
some sound-effects and some noises and that’s your
whistler the whistler’s were manifesto’s
minions and they took the shape of a
ball in order to you know
travel quickly and go after their prey or whatever was
and I had to do a
transition between the Whistler and the ball I mean
ideally you would have
liked to have had a mechanical effect where the
Whistler actually rolled up into
the ball but you know big budgetary constraints being what they were that we actually
had to do it in the computer wet wire was actually a separate
creature in the original
horror visions that they were actually for
creatures and wet wire you
see in the movie his name was actually barkafar so
was between those four we
had to cut one because money so we ended up
taking wet wire name and
replacing it with the bark afar name his barkafar to me
sounds like a smurf Dave Barton provided a large it
was like a waist apparatus
look like a big wrestling belt that went around
his waist and below that I
took out his leg and so he was supposed to sort
of look like he was attached
to this big machine without any legs and he sort of
comes out and I provided a
light and like I said smoke below that and I
think the effect came off
pretty well it looks pretty convincing and then of
course we have manifesto the
eight-foot creature in the desert played by David
Greathouse who actually
he played baby whoopsie-daisy in the doll man
vs. demonic toys movie
what I did is I added some elect electrical effects on
him to give it the effect
that he’s like you know he’s gonna start breaking
apart added some sparks and
stuff and the big climax with him is at the end he
finally explodes into in the
end of obliteration I just overlaps in all kinds of
explosions and stuff on him and
I even put a like a big shockwave on it to give it like
a really big effective
exploding and he’s on like these two foot drywall stilts in
the desert it’s windy as
hell and he could barely stand up he had a 30
pound head on for Manifesto he
could he had to have his neck down when he was when
he was doing it and if he
fell it would break I had to do I think like I don’t
even know what the exact
number was but it was like 70 some visual effects
shots in like two weeks [Music] we had a great crew most of our
crew was completely green
new to this a lot of them weren’t but most
of them were and, really broke them in with
our low budget filmmaking they know what guerrilla
filmmaking is like the crew seems to be getting
along, this
place is trashed this is my personal
apartment here makeup bags, computers, food,
lights I’ve already blown every fuse in
the house, my guitar has been
broken lots of stuff has been broken of
mine but what are you going to
do, making a movie Spud for whatever reason always
seems to have these just piece-of-shit
cars laying around and the
first thing you said to me is well that car be
cool for the lead character in
horror vision so I hem hawed he buttered me up and finally he talked me into
letting him use that car for
horror vision between Dan and I abused him and said well we’re
going to use your car, is that
cool he’s like what, excuse me, no
your not gonna use my car and eventually
you know we wound up using it
and he’s like James Black’s not allowed to be on my
car I don’t want to you know
I don’t when I’m sitting on you’re gonna dent the
hood and well James blacks
on top of the car and I don’t know about putting
those car mounts on my car and
while there’s a car mount on there certainly horror vision
was not an easy show by
any stretch of the imagination it was a show that
was spread all over the
city of Los Angeles which is the the most difficult
city to shoot a movie in
anywhere I mean you could probably go murder
somebody in the middle of a Main
Street in New York City and get away with it but if you
minute you drag a camera
onto a street in Los Angeles you are busted and there
was these guys putting these
like poles in the ground on this desert land we just hi (mumble)we’re gonna
make a movie can we shoot on
your land and the guy I’m turns on goes sure that’s the
desert you see in the movie
as guerrilla as our filmmaking team was on this
movie and it was a very small
crew we were able to accommodate a lot of that just
by stealing shots and
you know stealing locations and you know we there
were some scenes that were
staged right at Hollywood’s vine right you know
outside of where woman’s
offices and it was just became a matter of you know
here’s what you have to do pull up you get out and say the lines
and gone you know and get
off the street and I’m gonna you know quickly
before somebody sees you I
think directing horror vision was my 12 day film
school

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