PIERRE AYOTTE - FILMMAKER INTERVIEW

Exclusive interview with cool, awe-inspiring filmmaker PIERRE AYOTTE, from Canada who took the time to be interviewed for our blog.  And also to thank Mr. Ayotte for sending us a dvd screener of his grindhouse tribute, awesome, absurd, fast-paced short film MASSACRATOR for review and for taking the time to be asked questions.  MASSACRATOR 2 is soon to be release I cant wait to check it out.  Check out his trailers of his other film works - honestly, WOW - AWESOME...

EYEPUS:  Pierre can you tell EYEPUS a bio about you and your multitalented works - especially as seen in your short film MASSACRATOR?

PIERRE AYOTTE: Growing up, I was always close to one kind of art or another. At home, we watched very little TV but a lot of movies, with a jukebox in the living room (my dad was a bit fifties-oriented); so music and dancing was part of the background. I started playing guitar myself at around fourteen, but was more inclined towards sports and science in high school, although I did a few year-end shows. I went to engineering in college, spreading my free time between rock bands and hockey, but found the applied science curriculum less thrilling than I thought. I switched to the Communications Program at University of Montreal, which happened to give free access to shooting equipment and editing facilities. I flunked it twice, just to take it again and benefit from the free equipment, and made a bunch of short films and videos. At the time, I was also doing music and eventually decided to pursue it more seriously for some years. I recorded a few albums and did a couple of hundred shows. Producing music was satisfying, but I missed the overall intricate endeavor of moviemaking. I was stuck between two great passions, and I knew you can only do one thing with greatness, not two. So I chose cinema, which is what I've been doing lately. I finished Massacrator and three other short films, and am now at work on my first full-length movie.

 EYEPUS: I just found out you also do photography - Can you tell me about your fashionable black/white and colorful photography?

PIERRE AYOTTE:  I did a couple of years of glamour photography and some exhibits, but as a hobby, really. Doing camera work in movies, I found photo framing and model direction to be closely related to directing a film shot. I do like the esthetics of black and white.

EYEPUS:  Did you go to film school or art school?

PIERRE AYOTTE: Besides the free-equipment repeat sessions, I did a minor in cinema theory as part of my college degree. Very instructive in terms of cinema history but not too useful if your aim is to actually do film. For that, nothing beats slugging it on no-budgets productions.

EYEPUS:  You are from Canada - how is the horror/filmmaking scene in Canada?

PIERRE AYOTTE:  The Canadian living dead is alive and well ;) In Montreal especially, you find all kinds of very active and creative people, with some major genre festivals such as the Fantasia Festival and Toronto After Dark. I find it uncanny that a relatively small population can manage and sustain its genre community. People here are very resourceful and show great abilities at combining technical proficiency with very low budgets. There's a can-do and "will-do-no-matter-what" attitude that makes this scene a lot bigger than its parts.

EYEPUS:  Would you call your film MASSACRATOR a horror sci-fi spoof?

PIERRE AYOTTE:  It sure is.

EYEPUS: Your film features an undead Elvis Presley - are you a fan of Elvis?

PIERRE AYOTTE:  Certainly. My father playing rockabilly guitar in outdoors shows, Elvis in the jukebox, those are great memories. Like all teens, I rebelled against stuff in my teens, but managed to keep my fondness for the King alive. I understand the cheesy dimension surrounding this pop culture icon, and I play with it as well, but I have a genuine appreciation for the man and his music. At his best, he was an incredible singer and performer. The rock I play and listen to has not much to do with him, but it owes a great deal of its existence to pioneers like him.

EYEPUS:  I just found out you did a sequel to MASSACRATOR - Can you tell us a bit without giving away too much?

PIERRE  AYOTTE:  It's more of a tongue-in-cheek musical after-thought to Massacrator; it's got quite a bit of gore as well, but it isn't a narrative per se. Basically, Elvis comes backs to life after being decapitated by Massacrator, but his brain is infected with a virus. So he sings a bit, and kills a lot.

EYEPUS:  Who are your favorite horror filmmakers of all time?

PIERRE AYOTTE:  I like filmmakers who manage to blend horror/suspense with good narratives and some style. John Carpenter comes to mind, early Sam Raimi, Ridley Scott.

EYEPUS: Favorite horror films of all time?

PIERRE AYOTTE: Alien, The Thing, The Shining, Evil Dead. 200 other ones.

EYEPUS:  Your film is very outrageous and absurd - reminded me of the early works of John Waters - Who or what inspired you to make MASSACRATOR?

PIERRE AYOTTE:  A visiting friend of mine was very muscular (he's a judoka). He was here for a week, so we decide to do a Terminator 2 gory silent spoof on the weekend, starring him. Although it was a quick and dirty production, I knew I could convey a certain uncanny style in both the humor and the action by using old film and low tech tricks in this genre of movie. After sending it to a few places, I was somewhat surprised that other festivals started writing me to get it as well. It's not groundbreaking cinema, but it fits the audience for these types of showings.

EYEPUS:  So lets get technical - the making of MASSACRATOR - Which editing system did you used to cut your film?

PIERRE AYOTTE:  It was shot on Super-8 film and edited on a very old reel-to-reel manual splicer. There is no negative with Super-8, so you are basically editing your master, adding a lot of scratches and dust just playing it back and forth, so there was no need to add those scratches in post-production. After I had fooled around enough with it, I sent it for digital transfer in Toronto (Frame Discreet, excellent people) and fine-tuned it in Sony Vegas, because there's no way I could get a tight enough edit other than on a modern non-linear editing system.

EYEPUS:  What was your overall budget for MASSACRATOR?

PIERRE AYOTTE:  About 300$ for film and transfers, 200$ for gas money, fake blood, lunch, beer, etc.

EYEPUS:  Which film camera you used to make this film?

PIERRE AYOTTE:  A Bauer C 900 XLM Super-8.

EYEPUS:  Do you have any more upcoming film projects in the works?

PIERRE AYOTTE:  I'm currently at work finishing the editing of my first feature film, a whitesploitation action comedy. It's very old-school, with loud car chases, gory back alley martial arts, dynamite, peek-a-boo nudity, and very cool funk music. It stars a rock band against the forces of Evil, of course.

EYEPUS:  For all filmmakers who are struggling pushing their little films out there - Can you tell us about how are you going about promoting and doing publicity for your films - are you doing it the all self - distribution way?

PIERRE AYOTTE:  First, I made something like a five-year plan, because I understood that the publicity efforts would come from myself for the longest time. Then I made sure the films are the best they can be. I show it to friends, cut out the fat, show it some more, cut some more. Basically, I make it tight and effective, because people will have zero patience for something they don't know yet. I build up interest for it and subsequent productions by entering festivals, submitting to online reviews, putting trailers on YouTube, creating a mailing list from any and all, creating bridges to like-minded people on Facebook, Youtube, MySpace, etc. I spent a bit on Festival fees, poster expenditures, etc, and a unexpectedly large chunk of time; this is where the five-year plan helps. Meanwhile, I write scripts and keep on top of industry changes with books and online resources (The Workbook Project for instance). 

EYEPUS:  What is your best advice to give to all struggling horror filmmakers who are trying to make a film at no zero budget?

PIERRE AYOTTE:  Just do it, and make sure you finish what you start, even if you have to wing it; then move on to the next thing. Besides, if your budget is zero, then your potential for loss is inexistent, isn't it?

FOR MORE OF PIERRE AYOTTE UPCOMING FILM WORKS, MUSIC AND PHOTOGRAPHY WORKS PLEASE VISIT WWW.PIERREAYOTTE.COM

CHECK OUT HIS UPCOMING MASSACRATOR 2 TRAILER BELOW

FILMMAKER PIERRE AYOTTE - EXCLUSIVE TRAILERS

THIS IS AN EXCLUSIVE SECTION FOR PIERRE AYOTTE Awesome - horror, gore, crazy cool Trailers of his film works DATE WITH A CHICKEN, MASSACRATOR, MASSACRATOR 2: ELVIS CHAINSAW MASSACRE and SATAN, JESUS & ELVIS.  Check them out and visit his website

WWW.PIERREAYOTTE.COM

DATE WITH A CHICKEN



SATAN, JESUS & ELVIS



MASSACRATOR 2: THE ELVIS CHAINSAW MASSACRE



MASSACRATOR

MASSACRATOR - A Short film by Pierre Ayotte - Review

Lately, I've been watching lots of indie short horror films and sad to say the short horror films is better than the horror feature garbage that pops in our local bijous and Netflix.  Recently, I just got a dvd screener MASSACRATOR from filmmaker Pierre Ayotte I must say it was one twisted, awesome, grindhouse, crazy ass film.  MASSACRATOR is absurd and funny as hell - Elvis Presley comes back from the dead.  Pierre Ayotte take us to experimental, grindhouse tribute via Super 8 (literally the film was shot in Super 8 - no Final Cut Pro scratchy film effects here) and an amazing soundtrack.  MASSACRATOR is getting lots of film festival notoriety and filmmaker Pierre Ayotte is one filmmaker to be in the look out for.  Following this review is a personal interview with filmmaker Pierre Ayotte.

Below is the trailer of MASSACRATOR and check out the website  www.massacrator.com 

SURVIVAL OF THE DEAD - DVD RELEASE TOMORROW 8-24-10

DONT BE AFRAID OF THE DARK - Remake - Poster and Trailer

"DON'T BE AFRAID OF THE DARK" is a remake of the 1973 of the same name starring back then Kim Darby as she gets turned the fuck out by shady little creatures.  Scary as hell when it played on TV back in the seventies and the 80's especially watching the film after midnight in our black and white tv sets.  In this remake - stars Guy Pearce and Katie Holmes - Guillermo Del Toro produced and wrote the story.  Anything Guillermo Del Toro touches is gold, so I know is going to be great.  Maybe someone could remake TRILOGY OF TERROR someday.  Another great made for television horror film that scared the crap out of me in the 70's.

Below is the poster of the original film, the remake and the trailer of the new remake.
Enjoy...

Don't Be Afraid of the Dark in HD

Trailer Park Movies  MySpace Video

New Horror DVD releases

New Horror DVD releases today TUESDAY, AUGUST 17, 2010:

A film about Killer Animals BURNING BRIGHT

AND FROM SHOUT FACTORY TWO HORROR SAPPY RELEASES

DONT LOOK IN THE BASEMENT - Remake Coming Soon

Legendary filmmaker Alan Rowe Kelly and Anthony G. Summer both are directing together the seventies horror underground classic "DON'T LOOK IN THE BASEMENT".  Above is the original poster of the classic horror film and the new version below.  I love the new version poster...

MAC ELDRIDGE - CHEMICAL 12-D FILMMAKER - INTERVIEW

EYEPUS: How did your passion for filmmaking got started?

MAC ELDRIDGE: I don't have the typical start in film making where someone in my family took me to the theater constantly. Instead, my brother's best friend got a job at the local theater and constantly took my brother to the movies. Once my brother got tired of it and stopped going, his best friend took me instead (as he thought I was the closest thing to my brother). I was taken to see The Life Aquatic with Steve Zissou one day and it was then I realized that films are more than just entertainment: they could be whatever I wanted them to be. I started making movies with my brother's best friend with a little sony hand camera in our backyard and now I just wrapped my last production shot on RED. Its a surreal experience when I look at the big picture.

EYEPUS: Did you attended film school?

MAC ELDRIDGE: I still attend film school in Chicago at DePaul University. I'm entering my final year here and I cannot speak any bad about the experience. Its free equipment and they let me shoot what I want (more importantly, the work I produce is mine, not the school's like many other film schools). I made Chemical 12-D as a sophomore in my first production class. Before entering college I was certain I was just going to go out to LA and start working, but my DP David Wagenaar convinced me to come here. Thankfully, he did or else I wouldn't have gotten to make 12-D amongst other projects that I've had a blast making.

EYEPUS: Any favorite horror films of all time?

MAC ELDRIDGE:  I'm a list man. That meaning, I constantly create lists and they constantly get rearranged as well. With that said, I have my five favorite horror films of all time listed below (and in order).

The Thing (John Carpenter)
Alien
Halloween
Night of the Living Dead
The Shining

As I said, its constantly changing but its always between these five. For the past couple of years Alien was my favorite, but now The Thing has taken over as of late.

EYEPUS: Who are your favorite horror filmmakers?

MAC ELDRIDGE:  I always find this to be a tough question since a lot of my favorite filmmakers are genre filmmakers. If I had to stick strictly to my favorite horror director, I'd have a tough time figuring out any outside of a few (Cronenberg, Carpenter, and Romero are a few to come to mind) but I must say that my favorite filmmakers are genre filmmakers. This is the likes of Hitchcock, Del Toro, Kubrick, and Neil Marshall just to name a few. I always feel bad for the guys who get pigeonholed into a genre as I know they probably want to tell some stories outside of their respected genre.

EYEPUS: How did your film company Water Cooler Productions come about?

MAC ELDRIDGE: Water Cooler Productions came about from a project that never got made. Back in the day when my friends and I were 16 or 17, we wanted to shoot a project that focused around a few water fountains and water coolers but the project never came to exist. Since then, our motto has been to give people something to talk about around the Water Cooler. We now produce some work outside of our own but mainly it is a production company where we fund and create projects helmed by us.

EYEPUS: What inspired you to make your astounding zombie short film CHEMICAL 12-D?

MAC ELDRIDGE: To be quite honest I never wanted to make Chemical 12-D as I always say that the film is my DP's baby more than it is mine. I was in pre pro for a love story I fell in love with but funding never came through so David (my DP) told me to write a zombie script. I was hesitant because the indie circuit was filled with zombie movies (a lot of them not being good, mind you) and if we made a zombie short we would be lost in the trash. Well, needless to say I was wrong. 12-D has been our most succesful short thus far and it has gotten more praise than I ever imagined. When I wrote the film though I wrote it to be an abduction film where zombies just so happen to be a part of the story. I think thats why it is successful. SPOILER: If you notice, throughout the entire film not one zombie hurts anything; its always the humans creating pain and death. I think that resonates with some people. The other big pull to me is that this is a scarier movie if you're a parent. Its about the horror of a mother.

EYEPUS:  Which film/video camera did you used to make CHEMICAL 12-D?

MAC ELDRIDGE: Chemical 12-D was shot on the Panasonic HVX200A with a Letus adapter. The real beauty in the film is seen in the post production and what our colorist Ryan Linich did to it. The film would have a completely different vibe and feel to it if it weren't for him.

EYEPUS:  How many days and hours did it took you to shoot CHEMICAL 12-D?

MAC ELDRIDGE: We worked on Chemical 12-D for one solid weekend of photography (roughly 8-10 hour days) and one day for pick ups the following weekend. The garage scene was the longest to shoot as it took 8 hours by itself due to SFX and how long the chest cutting bit took to set up. Post production was a much, much longer experience than production as we have 3 or 4 different cuts of the film with a few different sound mixes.

EYEPUS: How was your experience working with a child actor in your film?

MAC ELDRIDGE: Working with children can be tough as I found out from my latest production. They can be a real hassle if they're not wanting to do it (what I'm really saying is that stage moms are tough to deal with) but working with Wesley Klepac was a dream. He layed on the operating table for 8 hours with no complaints and he did everything I asked of him on the first take. In our down time we'd talk about sports and throw a football around. I can't think of one negative mark against him. If his passion for acting continues on into the future, you'll be seeing him around. Hes a real talent.

EYEPUS: Any hardships in the making of the film?

MAC ELDRIDGE: This was by far the most fun I've had on a set. Looking back on it, other than the typical hardships of scheduling and such, I can't think of too much that proved to be real frustrating on set.

EYEPUS:  How was your film festival experience and reactions with your film CHEMICAL 12-D?

MAC ELDRIDGE: The festival circuit has been great to us as we have just played our biggest festival to date: Fantasia Film Fest. There were roughly 750-800 people to see The Human Centipede and we opened for it. It was again another surreal experience as only four years ago we couldn't get anyone to watch our work and now we're playing internationally to hundreds of people who don't know us or owe us anything. It was incredible and if that was the peak of my film career, I couldn't be happier.

EYEPUS: Any distribution deals in the future for CHEMICAL 12-D?

MAC ELDRIDGE: 12-D has been offered a distribution deal twice for online distribution/netflix. We had to turn them down both times as things just didn't make sense for us but as of now, YouTube is great. People get to see our work and that is all we really care about. The more people to see our work, the better. People have come to me about a feature which is something I'd be interested in doing. Believe me, I have an idea stirring in my head I don't think the zombie genre has seen before.

EYEPUS: What was your overall budget for CHEMICAL 12-D and how you got the funds?

MAC ELDRIDGE: 12-D was funded out of pocket and funding wasn't a grave concern as we get all of our equipment free. I've seen around the net that people said we had a grand. That is not true. We didn't even have 500 bucks. We had favors and people who wanted to be involved with the project. Its crazy to see how far a few computers with facebook favors go (along with free rental equipment from film school).

EYEPUS: Is it hard getting funding in making a film?

MAC ELDRIDGE: Extremely but it can be done. Our latest short (The Old Man and His Dog) is our biggest budget to date and funding it was tough. Luckily a few kegger parties along with fundraising events can get you places very quickly. I always say this: everyone has a rich uncle or something like a rich uncle who can be tapped for a few bucks once or twice. Get a great project with great people involved then tap your uncle's shoulder for your one shot. However, with the way technology is going, the most expensive things on set now are catering. What I'm saying is that anyone can make a short with a few favors and an understanding of technology. Money should never stop you from making a production but only make your life easier.

EYEPUS: Lately, I’ve been asking filmmakers about horror film remakes - With so many classic horror movies been remade, which dream favorite horror film would you like to remake and why?

MAC ELDRIDGE: I have two answers for this. If I could remake a movie out of the sheer fact that I want to be a part of that franchise then I'd remake Alien. I'm only saying that because I'm such a fanboy and I want nothing more than to be a part of that franchise. It doesn't need to get remade but I want to do it anyway. With that said, the movie I actually do want to remake in a very, very bad way is Frankenstein. I think Del Toro will beat me to the punch as he wants to remake it also but I've always been infatuated with that character. I got a few ways to tell that story but its something I wouldn't tackle without a serious budget behind it. Maybe one day, but until now, it sits in the back of my brain as an idea.

EYEPUS: Do you have any upcoming film projects in the horizons?

MAC ELDRIDGE: I just wrapped production on my last short The Old Man and His Dog. Its a ghost story I have treated like my baby for the past year. We're in post production now and I can't wait to have it done for 2011. Its my The Devil's Backbone if I had to relate it to any other movie. After that, Water Cooler Productions is pretty much open however we have already decided that we are shooting a less serious horror film that we hope to shoot starting next March. We need a break after being so serious for almost two years and some fun action/horror stuff will be a blast to shoot.

EYEPUS: Any inspiring words or advice for upcoming indie/micro budget/or the very low zero budget filmmakers trying to struggle with a small penny to make a film?

MAC ELDRIDGE: I  touched on it already but my main thing now is that you don't NEED a budget like you use to. Back in the day it was 16MM, buying the film, processing it, getting a steenbeck to cut, printing the film, etc. etc. You needed money but not anymore. Paranormal Activity and The Blair Witch Project are great examples of movies made with no money. It can be done. Its finally all about creativity!

CHEMICAL 12-D - Great Zombie Short Film

Zombies have taken over the world once again - but this time in just seven minutes in the great zombie short horror film CHEMICAL 12-D By filmmaker Mac Eldridge.

In a zombie-undead infested world, a man named Michael Frank is out searching for a zombie to experiment on with his CHEMICAL 12-D.  Research Subject a "zombie" age 8 to 12 - a child zombie.  Where he kidnaps the child zombie - brings him to his lab and experiments on the child by dissecting him, making his test subject just to test his CHEMICAL 12-D.  I could give a bit more details here but you need to see the film for yourself the ending left me jaw opened (which I won't spoil it - see the film - a must).  Lots of blood/gore splatter.  Remarkable performances by the three film cast members.  Great story and great direction by Mac Eldridge.  Great sound design and soundtrack... Mac Eldridge zombie opus in seven minutes is a classic short horror film.

Watch CHEMICAL 12-D embedded here with the permission from filmmaker Mac Eldridge. 

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...



  

SCREAM 4 - NEWS

SCREAM 4 Stars NEVE CAMPBELL, DAVID ARQUETTE, COURTNEY COX, EMMA ROBERTS (JULIA ROBERTS NIECE), RORY CULKIN, LAUREN GRAHAM, ANTHONY ANDERSON and a bigger cast.  WES CRAVEN IS HELMING AND KEVIN WILLIAMSON WRITING - I PREDICTED THIS BLOGS MONTHS AGO - CHECK OUT MY EARLY BLOG ABOUT SCREAM 4.   HERE IS THE TEASER POSTER. 

THE WALKING DEAD - TV SERIES

The famous graphic novel THE WALKING DEAD By legendary graphic novelist Robert Kirkman will be turned into a television series for AMC by the amazing director Frank Darabont (THE SHAWSHANK REDEMPTION, THE GREEN MILE).   Above is a film still from THE WALKING DEAD. I know Frank Darabont will turn this classic graphic novel into a gem. 

CALIBAN T-SHIRT BY RODNEY GITHENS ON SALE

Hold a piece of original, mind-blowing, fierce artwork across your chest from amazing PAINTER and ILLUSTRATOR RODNEY GITHENS

The ferocious, fiercely detailed "CALIBAN" T-SHIRTS are now on sale  Click on the design below for more details and price.

RODNEY GITHENS CALIBAN TSHIRTS

RODNEY GITHENS - PAINTER/ILLUSTRATOR

Rodney Githens is a painter and illustrator based out of Long Beach, NY. His art works are just beyond dark, deathly and visually stunning. Mr. Githens art works and designs have been showcased in galleries and fashionably used by popular Metal Bands and by the Ring of Honor Wrestling. Githens also owns a t-shirt line of his designed art works titled VERTEBRAE 33.

Astoundingly, Mr. Githens took time out of his busy schedule and designed the EYEPUS logo above - in which, I literally fell to the ground and almost broke my neck for this incredible design. A billion thanks go out to him for making the EYEPUS logo. 

EYEPUS is more than proud to present RODNEY GITHENS in this brief cool interview. 

When did you discover your hidden talents as a painter/illustrator?
Honestly, I cannot remember a time when I did not draw or create in someway. I spent my childhood drawing monsters and weird people. In some ways a lot has not changed that much. As an adult I spend a lot of time drawing monsters, skulls and weird people.

Who are your major inspirations for your artwork?
Obviously my work has a darker slant…so I could not say I draw inspiration from a sunset. But I do draw inspiration from all aspects of my daily life and I have some very crazy dreams all of the time. In fact, I have some sketches for a series of paintings I want to do based solely on some pretty elaborate dreams. As far as other artists go, there are numerous artists that I like including Dali, Munch, DaVinci & Durer. Anyone that does art for metal bands has to count Pushead & Derek Hess as an influence. Also, there are bunch of people working a lot right now whom I really like such as Riddick, Paul Romano and a bunch of illustrators. In addition, I draw inspiration from music of the heavy variety. For me, having a great soundtrack is a key element of the creative process.

Who are your favorite horror filmmakers of all time?
Of all time? Well, there are certainly a group of no-brainers such as George Romero, John Carpenter and Sam Raimi. Also, I would throw Hitchcock in there as the master of suspense.

Any favorite horror films of all time?
I go through different phases and as such I will latch on to different types of horror films at different points. So I went through periods where I became obsessed with all of the Evil Dead movies, Living Dead movies, Hellraiser movies but I really love the Alien movies. There is no better art created for movies than the stuff that Giger did for the first Alien movie. Also, I really love old horror films such as The Creature from The Black Lagoon, Frankenstein and a bunch of the Hammer films. As far as poster art goes those old movies had some of the greatest posters of all time.

 Any favorite GORY films of all time?
I am not a very big fan of GORY horror movies. But I do remember meeting a good friend of mine, Gary in a high school gym class because he was on the bleachers looking at a Fangoria magazine. I guess I have always preferred suspense or creepy monsters rather than outright gore.

Can you tell us how you got inspired for your art works “CALIBAN” “PROVE TO YOU” and “NERVE MAN”?
“Prove to You” was created to be shown at a co-op gallery that I was a part of a while ago. The idea behind the piece stems from the frustration of teenage life as I reflected back on it…the passive being forced to follow the misguided. “Nerve Man” was originally created as a shirt design for a band but I decided not to work with them. Not sure of the actual inspiration other than creating a spindly nerve guy existing in the astral plane. “Caliban” was created for the metal band Caliban to be used for a tour this spring/summer. They wanted a zombie based design and I wanted to try something different. So I went with the zombie crossbones.

How long does it take you to do one of your works? Any particular techniques or styles you use?
It really varies depending on the piece, but often it takes me while just to get warmed up. I tend to work pretty slowly but I can turn around work to people fast and I never missed a deadline. As far as style, I have my natural drawing style that has been developed over my entire life that is the base for all of my work. I work both by hand and in the computer. But the key would be that the average person should look at your work and not think about how it was done. Whatever tool you use it should not overshadow the impact of the work.

What are you trying to do to people with your art?
I am trying to lead them to the edge of insanity, where one-eyed bandits run amok and monkeys rule with an iron fist…..just kidding. I just want them to have some sort of reaction to my work, whether it be good or bad.

Can you tell us about your website VERTEBRAE 33 and your online store?
My site is the showcase for my art and it is for all humans who have all 33 of the their vertebrae. The store was created to try to tell some of my own designs on shirts and hopefully in the future prints and originals as well.

Are all your art works printed on all the Shirts you sell?
No. Right now I have only two designs on shirts for sale through my site but you can get some of the designs I did for bands at their shows or on their websites.

Any upcoming gallery art shows or exhibitions of your works?
Right now I do not have any gallery shows on the horizon, as I am solely concentrating on doing artwork for bands and merch companies. I would love to get back into showing

Do you think the art world is competitive?
In some respects it is very competitive but doing good work consistently over a long period of time will shrink that world into more manageable components. The internet makes it easier than ever to expose people to your work but it often still just boils down to networking. Most artists are pretty bad at networking or the business side of the art world. There is a reason we are motivated to create and it has nothing to do with business acumen.

Do you have any new upcoming projects in the works?
I am currently working on shirt designs for Ring of Honor Wrestling and a couple of bands. I just finished another design for Metal Hammer magazine and a record cover for the band Sons of Tonatiuh. I have a couple of things lined up but I cannot talk about them yet, as they are still in the beginning stages.

Honestly, Do you think aspiring artists should go to art school to learn art?
I spent time at a bunch of schools and I learned something at all of them. If you get a good teacher you can learn a ton and there are some good things that can come from feedback from a group of your peers. But it all boils down to the amount of effort you put into being an artist everyday of your life.

Any great advice for aspiring painters and illustrators out there?
work…work…work….You must push yourself all of the time to be better and better. I believe that hard work and perseverance will pay off in the end.