RUE MORGUE FESTIVAL OF FEAR

RUE-MORGUE FESTIVAL OF FEAR - AUGUST 27 - 29, 2010 - AN AMAZING CAST OF GUESTS INCLUDING DAVID CRONENBERG, KEN RUSSELL, HEATHER LAGENKAMP, LANCE HENRIKSEN and MANY MORE. 
CHECK OUT THEIR WEB PAGE FOR MORE INFORMATION RUE-MORGUE.COM

JEREMIAH KIPP - FILMMAKER INTERVIEW

EYEPUS has the most distinguish pleasure to bring an exclusive interview with Filmmaker Jeremiah Kipp.  Mr. Kipp took time out of his busy film schedule (shooting his upcoming horror feature film SWINE starring Tom Savini) to be interviewed here at EYEPUS.  He is one hell of an amazing detailed filmmaker, and if anybody haven't seen his short film works

CONTACT and THE POD I suggest to run and do so - and check out his filmmaking craftmanship.  Just remarkable short horror film works...

EYEPUS: Can you tell us - How did you got into filmmaking?

JEREMIAH KIPP:  When I was twelve years old my grandparents purchased a VHS camcorder, I think to photograph weddings and family gatherings. But it became an opportunity for me to gather together all the kids who lived on my block so we could make vampire, zombie and end-of-the-world movies in my backyard. I cut together a reel from these 300 mediocre films and submitted it to NYU, and combined with my grants, scholarships and high SAT scores, it was enough to get me into this prestigious film school, where they throw a 16mm camera in your hands and you take to the streets. I was fortunate to be able to continue working in this industry post-graduation as a director, assistant director and producer.

EYEPUS: Any horror films inspire you to become a filmmaker?

JEREMIAH KIPP:  There were several genre films that transformed me when I was growing up. Some of the most significant were John Carpenter’s THE THING, which had a truly original monster in a chilling location and a dozen great characters having to deal with it. I also loved George Romero’s DAWN OF THE DEAD, a classic wish-fulfillment fantasy (what kid wouldn’t want to live in a shopping mall and kill zombies) that turns in on itself as a visceral social satire about consumerism. Romero and Carpenter remain two of my favorites, but I also remember having powerful experiences from the extreme cinema of THE TEXAS CHAINSAW MASSACRE, ERASERHEAD and the immersive worlds of THE ROAD WARRIOR and BLADE RUNNER. I’ve never been able to shake off my early impressions of cinema, or my love of horror, because these movies made it seem like anything was possible; that there were no barriers. Horror filmmaking allows you to push beyond the limits of human experience into something other, and that’s always been a source of great inspiration.

EYEPUS: Any favorite horror filmmakers?

JEREMIAH KIPP: Romero and Carpenter, as I said, are seminal filmmakers, and I also love the work of David Lynch, David Cronenberg…I’m particularly drawn to a Polish filmmaker named Andrzej Zulawski who made a monster movie in the early 1980s called POSSESSION, which was really about a nightmarish divorce between the characters played by Isabelle Adjani and Sam Neill. Within the independent film world, I appreciate filmmakers like Larry Fessenden, who directed the deeply personal HABIT and the nightmarishly political eco-horror movie THE LAST WINTER. Jim Mickle, whose MULBERRY STREET is a low-budget gem, and Graham Reznick’s mind-trip I CAN SEE YOU are also favorites.

EYEPUS:  Which is your favorite horror film of all time?

JEREMIAH KIPP:  Tod Browning’s FREAKS is one that has truly stayed with me; I love films in general that blur the line between reality and filmmaking. Harmony Korine, Bruno Dumont, Claire Denis and Lars von Trier seem to be some of the directors who are pushing the envelope nowadays, but FREAKS is mind-blowing because of its use of actual sideshow freaks as characters in the movie—who can forget the uncomfortable “gooble gobble” dinner scene or the climactic chase through the mud and the rain….”one of us, one of us”—brilliant!

EYEPUS:  Do you consider yourself a filmmaker or a horror filmmaker?

JEREMIAH KIPP:  I consider myself a filmmaker with a deep and abiding passion for the horror genre. If I fell into the so-called horror ghetto and never made a movie outside of the genre, I think I would remain a very happy man because there are so many possibilities that exist within the world of horror.

EYEPUS:  How do you feel about classics horror films been made into remakes?

JEREMIAH KIPP:  It all depends on how they handle the remake. Let’s not forget that John Carpenter’s THE THING, David Cronenberg’s THE FLY, Chuck Russell’s THE BLOB and TNT’s wonderful reinvention of SALEM’S LOT starring Rutger Hauer and Donald Sutherland were all remakes of previous genre offerings. It all depends on the execution. Many of these are attempts to brazenly cash in on a brand name, so all you can see are the hands of greedy studio executives wanting to cash in. Genre fans can tell if the work came from the heart or not. I liked the direction Rob Zombie was going on HALLOWEEN II, which felt more like his kind of movie than a straight-up homage. I didn’t think Zack Snyder’s DAWN OF THE DEAD remake was a total success—a lot of it felt pretty weak—but I did think he was sincerely trying to make a valid remake of the material, whereas the FRIDAY THE 13th and NIGHTMARE ON ELM STREET retreads were far more transparent in what they were trying to do, which is make a fast buck.

EYEPUS:   I just saw your short film CONTACT, I really enjoyed and I was impressed with your film - what was the budget for your film?

JEREMIAH KIPP:  Our budget was miniscule—ridiculously so! I spent around $600 to make that picture, but mind you our very professional crew were doing me a favor by working on the film out of the goodness of their hearts, and the camera and equipment were on loan from a filmmaker whose feature I produced a few months earlier. So when considering the $600 price tag, you also have to factor in the friendships, favors and courtesies my cast and crew extended towards me. How does one budget for the knowledge that you would do anything to help these people, and they return the favor by helping you? The east coast low budget horror community can be very loyal and supportive in this way.

EYEPUS:  How many days did it take you to shoot CONTACT?

JEREMIAH KIPP:  We shot for two days, but did full rehearsals and were in post-production for a little over a month as we cut the picture and worked with our wonderful composer and sound designer Tom Burns, who fully mixed the project for us before screening it in October 2009 at a Halloween film festival.

EYEPUS:  Which type of camera did you used to shoot CONTACT?

JEREMIAH KIPP:  Our camera was the Panasonic HPX, but more important was our cinematographer Dominick Sivilli. It’s wonderful to collaborate with a director of photography whom you draw inspiration from; he really has been like a brother in our collaborations. We shot some behind-the-scenes footage for a documentary that I co-produced, then we made CONTACT and that set in motion a series of projects we collaborated on together. Mapping out visual storytelling with him has been incredibly meaningful to me personally and professionally, and I look forward to our work together on our first feature, SWINE, which starts principal photography a mere three days from the completion of this interview.

EYEPUS:  What was your overall working with the actors especially the legendary Alan Rowe Kelly?

JEREMIAH KIPP:  I enjoy the rehearsal process, particularly with actors as creatively engaging and resourceful as Zoë Daelman Chlanda and Robb Leigh Davis. Most films have no rehearsal at all, so you’re basically watching what’s emerged after a very rough blocking if you’re watching an independent movie. I prefer not to work that way whenever possible, but unfortunately budgets don’t always allow that time with the actors during pre-production. As for the wonderful Alan Rowe Kelly, he has a magnetic persona onscreen, a kind of intensity that you expect from performers such as James Cagney or Barbara Stanwyck. He was open to the idea of playing this drug dealer as an aging punk rocker; I was inspired by the way Morrissey looks these days, and Alan wanted to create some sort of faux-mullet with his hair and wore that striking pea coat. Alan is like those British actors who work from the outside in; I think he discovers the characters he plays by figuring out their hair and wardrobe, and allowing that to inform all of his choices as an actor. I think his best work to date, though, was in A FAR CRY FROM HOME as the victim of a hate crime. It was very moving, poignant and personal; also Alan was not hiding behind a colorful mask, but playing a real and sensitive person, a normal person, and one who is suffering under extreme conditions. It’s quite a moving performance, and I encourage readers to try to track down this film however you can. Alan is releasing it in an anthology film called GALLERY OF FEAR sometime this fall.

EYEPUS:  You are about to go and direct your second film as a feature for two weeks, Can you tell us about your upcoming feature?

JEREMIAH KIPP:  I was hired to direct SWINE by two producers after they saw CONTACT online, and much of the same crew is returning. The feature is a “killer in the woods” scenario starring Tom Savini as the silent, predatory villain; there are a few fresh twists involving a primal state induced by animal steroids, and I’m blessed to be working with many of my east coast horror colleagues, including co-producer Alan Rowe Kelly, special FX artist Daniel J. Mazikowski (THE ROOST), and cast members such as Zoë, Jerry Murdock from I’LL BURY YOU TOMORROW and Miguel Lopez from VINDICATION.

EYEPUS:  If there was a dream horror remake you would like to direct which film would it be and why?

JEREMIAH KIPP:  I don’t think it’s as worthwhile remaking a classic genre film such as HALLOWEEN or even THE WOLF MAN. But if you came up with a fresh twist on a humble genre flick like, I don’t know, the Australian outback horror movie RAZORBACK or a “death on the road” picture like RACE WITH THE DEVIL, you wouldn’t feel a slavish obligation to the original. Alan Rowe Kelly is remaking S.F. Brownrigg’s drive-in classic DON’T LOOK IN THE BASEMENT with co-director Anthony Sumner. I’d love the idea of remaking Brownrigg’s SCUM OF THE EARTH—if I could do it as if Mike Leigh were making an exploitation film!

EYEPUS:  Any inspiring words you would like to share with other aspiring filmmakers out there?

JEREMIAH KIPP: The best advice to most filmmakers is simply not to do it, because this is an incredibly difficult way to live your life. If you have a tremendous passion for the work, it is the most beautiful and rewarding profession, with great and rewarding artists in front of and behind the camera. And it is humbling to consider that no one can do it alone; no one person makes a film. One must always be mindful of that other party involved, which is the audience. How are you telling a story to them visually, and what is the effect you want to have on them? What do you hope to communicate? Even if the reason is as simple as, “I want to scare the shit out of people, because it is fun to be scared!”, that’s wonderful, because scary movies are cathartic; they take us to other worlds; they allow us the chance to get close to our deepest nightmares and emerge safely, however shaken and unsettled, as the end credits roll.

CONTACT - Short Horror Film Review

I just saw a great - interesting short horror film titled CONTACT by filmmaker Jeremiah Kipp.   Starring Zoe Daelvan Chlanda, Alan Rowe Kelly and Robb Leigh Davis... In the bible, there was once upon a time a man named Jesus Christ who once told a story about the Prodigal Son, who was once rebellious/sinful then came back feeling repentful, with humility to his good father.  His Father accepted his rebellious son back to his heart.  CONTACT storyline is sort of the female version of the Prodigal Son - The Prodigal Daughter.  The film takes us to a shady little journey of a dilapidated, chilling wicked world of drug usage and what drugs could do to your little brain.  

The film is beautifully shot - amazing black and white cinematography.  The overall film direction, again for a short film like this very well done, and with creative pace.  Jeremiah Kipp has a great eye behind the lens. The wonderful performances by the cast especially by Zoe Daelvan Chlanda just beyond... And the FX though not in the gory department but more in the grothesque department just oozing with greatness. Jeremiah Kipp delivers a remarkable little amazing little horror film package in just ten minutes.   I cant wait to see Jeremiah Kipp next film titled SWINE starring TOM SAVINI.

Jeremiah Kipp CONTACT could be view online at www.contact.shroggle.com/ 

CONTACT  Film Reviews

“The structure and progression of images in CONTACT, the storytelling – all very strong!" - Larry Fessenden, director of THE LAST WINTER and HABIT

"It's a beautifully made film -- I loved the mouth tunnel! In fact, I think I did that drug once upon a time. Excellent. Keep makin' em!"  - Frank Henenlotter, director of BASKET CASE and BAD BIOLOGY

“CONTACT is an emotionally charged short film/poem…with its rumbling, ethereal sound design and constant barrage of visual metaphor, this trancelike film speaks in dream language. There are themes of trust and desire and family betrayal bubbling under the surface. CONTACT powerfully illuminates the dangers of hardcore drug abuse and reveals, almost subliminally, how once tainted, it’s nearly impossible to escape its savage clutches.”  – Dante Tomaselli, director of SATAN’S PLAYGROUND and HORROR

“While it has a running time of only 11 minutes, CONTACT feels much more substantial because of its message and depth…Absolutely intense! Amazing on all levels: sound design, camera, lighting, acting – this one is going to win a ton of awards.” – Marla Newborn, Fangoria

“Felt like a chapter out of my own dating history. I love the mouth-to-mouth connection and the face tear. Kipp, you are one sick fucker!” - Paul Solet, director of GRACE

“A jolting, intriguing work that is blessed with great style and original substance—one of the most satisfying shorts to come around in a long time. 5 stars (out of 5)” – Film Threat

PUNK AND PISSED STORE

                       

Searching around the internet for affordable horror t-shirts I discovered a new, hot, cool, fierce internet horror shop - PUNK AND PISSED.  Oh my God - they sell amazing cool stuff - Horror T-Shirts, Horror Movie buttons (of your favorite horror films) for 1.00 (small) 1.50 for large ones, Cloth punk and horror movies patches, light horror jackets, Messenger bags 9.99, Punk - Metal Shirts, crazy cool keychains, stickers, and all so damn cheap.  The shipping and handling is cheap, if you spend over 40 dollars - shipping is free.  Not only are they the most affordable punk and horror store around but they give you an extra little gift with your order.  NOW that is how you treat your customers. 

I just bought four horror movie T-shirts from PUNK AND PISSED - EVIL DEAD 2, NOSFERATU, DEAD ALIVE and DEMONS t-shirts and honestly, I could tell you the best t-shirts a horror fan ever had.  The print and texture of the shirt is great.  A very comfortable feel with the shirt.  I already washed my EVIL DEAD 2 shirt three times and is still in intact condition.  Since I just discovered this store believe me I will be pumping the PUNK AND PISSED fashions...

Visit WWW.PUNKANDPISSED.COM and get some great, cool stuff and deals.   Trust me you wont be disappointed.  This shop put many horror t-shirts shops to shame.  Many horror t-shirts companies these days charge you an arm and leg in our economic hard times.  PUNKANDPISSED rocks with the prices...

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My Review for PUNK AND PISSED - THE BEST - 

A CLASSIC - FOUR SKULLS

FILMMAKER OWEN MULLIGAN - INTERVIEW

OWEN MULLIGAN is an amazing filmmaker from Vermont, and one to keep our eye out for in horror filmdom. His two short films - THE SMOG and MIDNIGHT ROADKILL screening now in YOUTUBE are a must see. Mr. Mulligan gives you that retro horror experience with his two short films - taking me back to that eighties horror film experience. Mr. Mulligan has a professional keen eye in film direction and cinematography. The special effects in both films are just startling. You take a look at his two films you think he spent a big budget for each of his short films. Again I repeat see his two short horror films - a must see… So, with the most respect I bring to you an interview with filmmaker Owen Mulligan…

Good Evening Owen - Can you tell the Eyepus audience about yourself personally and creatively - What first got you interested in film?

The desire was always there to make a film since I was old enough to understand the concept but it seemed impossible with the equipment of the time and I really had too many problems anyway. Years later digital technology blossomed and I was a different person with far fewer problems and ready for a challenge. I was heavily involved with politics which exposed me to digital camera work, etc. and I realized that making a movie was now within my reach.

Did you go to film school?

No, I have no formal training. I’m completely self-taught.

Who are your favorite horror filmmakers of all time?

I would have to say John Carpenter.

Any favorite GORY films of all time?

The Exorcist and John Carpenter’s The Thing as well as Alien. They all had groundbreaking gore that was really well used. I definitely admire The Exorcist the most though for making use of an erect penis in several shots, which not only offends most people but scares the Hell out of them. God knows why but it works.

Any favorite horror films of all time?

The Exorcist, The Thing, The Blob, The Fog, Prince of Darkness, The Changeling, Poltergeist, The Ring. There’s so many.

The last horror film you seen?

The Human Centipede, which I definitely liked.

Favorite horror writers?

Dean Koontz and Ray Bradbury. They may not be categorized as horror writers but they got some really horrific stories.

Can you tell me the budget for THE SMOG and MIDNIGHT ROADKILL?

They both were around $1,000.

Which kind cameras did you used for your films?

I used a Canon Vixia HV30 for both. I wish I had a wide angle lens when I did those but now I do so I look forward to putting that to use on my next short. I actually don’t own this camera though. Luckily, public access will let you use their equipment for exchange of your project airing on their channel. Now that’s a win-win situation that I take full advantage of.

Which editing system you used to edit your films?

Midnight Roadkill was edited by Paul Varricchione on Adobe Premiere and I edited The Smog on Sony Vegas, which is great software that I highly recommend. I also learned that Paranormal Activity was edited on Sony Vegas so don‘t think you have to use Final Cut. There’s other editing choices out there esp. if you’re PC based.

How many days did it took you to shoot The Smog and Midnight Roadkill?

They both took three days to shoot although some additional time was spent on getting the establishing shot that starts The Smog.

Love the saturated green colors in your film THE SMOG, it has a feel of an eighties horror film look, did you played with color corrections? Was is it intentional?

The saturated green was intentional alright. I purposely made the film become more green with each shot as the story progressed and the smog seeped in. I used green gels over the majority of the lights during filming for this effect and then in editing I used color balance and color curve effects to enhance the green and also the shadows.

Are you planning to expand your short horror films to a feature film someday?　

I realize The Smog could definitely be made into a feature but I’m not sure if I’d make it or any other of my upcoming shorts into a feature at this point. I think I’d rather write a feature screenplay and go from there but who knows.

Where do you hope to see yourself in five to ten years?

Hopefully still making films and ideally feature horror films that are really good and scary. That’s what I’m trying to do by making shorts is to learn the craft and what techniques, etc. make people scared. I don’t see myself in Hollywood but rather making independent films under some film entity that will fund my work. There’s plenty out there like ScareFlix and Fangoria Films. I’d be completely content working with them spending the rest of my life making micro-budget horror flicks.

As far as promoting, are you submitting your films to any film festivals? Any upcoming personal screenings of your short horror films?

Midnight Roadkill played at the 2009 Vermont Horror Film Festival. Since it was basically my first film, I didn’t feel it was good enough to go beyond my local area. The Smog I feel is an improvement and so I submitted it to a number of horror fests nationwide but I won’t know until August which ones I got into.

Any upcoming film projects in the works?

I have another short in the works that I’m planning on shooting this coming January called Call of the Wendigo. My focus this time will be purely on the fear factor. My hope is to make a short that is really scary and one that will haunt people. That’s not an easy task but I’m going to try.

Any inspiring words or advice for upcoming indie/microbudget filmmakers trying to struggle with a small penny to make a film?

Well I’m still struggling but the struggle is important so pay attention to all the lessons learned. If you believe you have the talent and filmmaking is the only thing you want to do then don’t ever give up. So patience and persistence are key. You’ve got to work hard to make yourself the best filmmaker you can and that takes practice and time so keep making films and getting them out there. Listen to feedback and be open to criticism. Listen and improve, pay attention to your weak points and fix them. And don’t ever think you’re too old for this shit. Alfred Hitchcock made Psycho when he was sixty!

Check out OWEN MULLIGAN website www.deadfi.com and his two short fierce horror films THE SMOG and MIDNIGHT ROADKILL.
　

VHS HORROR TAPES - COLLECTING

I found these three VHS horror film tapes brand new at a local thrift shop for a buck each.   VHS horror tape collecting is all the craze now.   Visit your thrift shops, craigslist, garbage cans, grandparents attic, where ever, find the VHS horror tapes in original boxes and collect them.   Many horror films on VHS are becoming rare to find.  Some of them you cant find on dvd such as Linda Blair 1982 cult prison film CHAINED HEAT.   Many VHS films will be worth money in the future.  I have the original VHS tape of the film BEN - now a collectible. 

VHS horror films take me down memory lane back in 1983 when every single corner of New York City had a video store, and you would go inside the store and see displays of boxed VHS horror films than any other films behind glass door cabinet.  A number will be in front of the film box.  You went to the counter and asked the clerk if that number (vhs horror) was available.  Many times the film was not available...  The memory of VHS horror films behind glass shelves with paper magic marker numbers in front of the box and running home with the tapes in hand.  Inserting them inside the big JVC vhs player and discovering the great films from the best horror and cult filmmakers...

So, collect those rare horror films on VHS for either a trip down memory lane, for fun - hobby, or just collecting to sell in the future.   It will be well worth it...