Nick Zedd Interview

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Crimson Celluloid: I guess the most obvious way to start this interview is to find out what you have been doing for the past few years? We haven’t seen much mention of you and, frankly, were concerned that you may have died.

Nick Zedd: You wish. Learn to use a computer. Look up my name on two websites & you can see my filmography up to now. Frankly, you’re being disingenuous and it’s not funny.

CC: What is the current state of play in regards to ultra-low budget filmmaking in your neck of the woods? Any promising new talents that you think we should be aware of?

NZ: Perhaps Mark Hejnar, Jacob Pander, Will Keenan, Jon Vomit, Saint Rev Jen, Andras Troeger, Steen Jorgensen, Bob, Nick Bohn, Mike Diana, Jaiko Suzuki, Gritt Uldall Jessen, Darly Free, Dr. Ducky, Doo Little and all the other people who’ve acted in my last six films which you probably haven’t seen. Continue reading

Gene Gregorits Interview

 

Photo credit VATO

Photo credit VATO

Crimson Celluloid: There’s a quote that I think of when I think of you Gene… “I suffer for my art, now it’s YOUR turn”. How much does suffering and adversity play a part in your creative process?

Gene Gregorits: It’s NOT the suffering necessarily, it’s the wisdom you acquire from being humbled. And people usually start developing ego, arrogance very early on, and suffering is the only thing that humbles someone –or shuts them the fuck up- long enough to understand the world’s natural energy, and their own natural energy. If you can’t understand certain kinds of dynamics, and the real flow of energy that defines life, you’re better off sticking to your punk rock or your soap operas or your sports because you’re still just an ignorant child.

CC: I never really rated Bukowski as a writer…just a fat, old drunk who got lucky. Do you get sick of the Bukowski comparisons to your writing?

GG: I grew up reading Bukowski. I grew up hard and poor, yet there were other poor people who were poorer and harder and I saw a lot of that as a kid. Bukowski taught me to have empathy and he more or less destroyed any ability I might have had to be a careerist. When I was young and drunker, people thought I was a walking joke, that I was stupid, that I was naïve. I was all of those things. But beyond all of that, I was very wise, and that came from Bukowski. Stoicism is waiting for your time to understand your world and your people. Now I know my world, and I know my people. Bring on the Bukowski comparisons. I don’t read Bukowski anymore, I find him juvenile most of the time. But I like much of his poetry and much of his prose and he always makes me laugh. I may be juvenile myself, but I have grown, and I owe a lot to Bukowski. It’s a compliment.

CC: I had a friend who was very creative but crippled with terrible Obsessive Compulsive Disorder. He didn’t want to take medication because he thought it would negate his creative ability if he were “normal”. Do you think your writing would suffer if you didn’t lead the kind of life you do?

GG: There’s no answer to that. Sometimes alcohol helps, most of the time it just makes you resistant to knowledge or growth or creativity. It makes you boorish. But when you live with a bunch of apes who are either afraid of you or who find you an amusing novelty, or are jealous of you, etc., it’s a way to commune with yourself. But back to Bukowski, you commune with yourself too much, and you end up writing the same thing 50,000 times and that’s no good. Just because you don’t want to be Stephen King or Tom Hanks…well, that’s no reason to try to be Rimbaud or Oliver Reed. I lead the kind of life I lead because I don’t have an ounce of respect in me for anyone who lives for money, or who wants to make money dishonestly. If I take money from someone who thinks I can or ever would play nice, then I am one of those people. I have never done this and I never will. As for medication, it’s poison unless you are so sick that you can’t live without it, but usually thinking that you can’t do something without medication is part of the sickness that keeps the drug companies in business. I have chosen to learn my own sickness and make severe compromises to accommodate my sickness so I can write. I have chosen to avoid nearly everything in life. I live on the beach with my cat. I have everything I need and I am extremely happy. I will break as many hearts as I have to, so that I have dolphins with my coffee. My family might not understand this; but it’s the lack of understanding that drove me to the edge of the world in the first place. I was a difficult child. I guess I should have been medicated. That’s my idea of a joke.

CC: SEX AND GUTS was an incredible fanzine in its day..the pairing of you and Lydia Lunch was brilliant and scary. What memories do you have of working with her?

GG: Lydia was embarrassed by me and still is. I don’t care. I’m a writer and Lydia is a musician. That’s all there is to say about us as a couple. As for working with her; I wrote my sections for the Johnny Behind the Deuce novel, handed them to her, she would bang something out in 2 hours, and I’d spend a week on my response. That’s how that book happened and that’s why the book I published, with only my stuff, doesn’t make any sense. It works better that way. As for the magazine, we have very different tastes, I think. She loves Hubert Selby, whom I find demonic, and I love Nelson Algren, who she probably finds corny as all get out. Lydia’s a harder person than me. As for the magazine, she wanted Sex and I wanted Guts. The third and fourth issues were scary and brilliant. But I think so much of the nihilism was cosmetic and I didn’t question it at the time because I was rather engulfed in cocaine and I hadn’t grown very much as a man.

CC:  Your in-depth interviews were always a highlight…do you have a favourite interview? Did anyone disappoint?

GG: My favorite interview was probably Jenny Wright, from last year. No one ever disappointed. I wouldn’t let them. I’m too good to be disappointed that way. As an interviewer, I have incredible power. I know how to push all the way to the brink, before someone leaves the table or hangs up the phone. You’d better print every word of this.

CC: What memories do you have of doing your spoken-word show in Australia? Rumour has it you spent the entire time stoned and defiling local ladies.

GG: Richard introduced me to a girl named Bec. I spent my time in Australia “stoned”, yes, and smelling of pussy. I went to expensive nightclubs with wealthy men in suits, “stoned” and stinking of pussy and wearing pissed-in Florida swim trunks, a blood smeared tank top, and motorcycle boots. It was winter time and I had no coat. The flipside to that is that I really fell in love with that girl and when the drugs wore off, my feeling hadn’t changed. It would have been interesting to see what would have happened if my Aussie lover had come to my place on Corey Avenue, St. Pete Beach Florida. I have a much prettier and smarter and younger girl now. I HAVE turned into Charles Bukowski. But to get back to “the entire time”, me in Australia, well…I really liked the donkey fucking movie and insisting that that film win best picture when I hadn’t seen any of the other films at all, due to Bec’s pussy and the drugs we were doing, well…not only did that get me international fame, it’s also fucking hilarious.

CC: What’s with the self-destructive behaviour? You willingly document your self-mutilation, drug-taking, drinking and sexual liaisons….a cry for help or a cunning ploy to build a “bad boy of literature” reputation?

GG: Well…there’s then and now. Two different games. The old game was romantic angst that needed voice somehow and I threatened by both circumstance, ALL the circumstances, and what I knew was a miraculous talent. I was also terrified by the world. The new game is selling books and I did through both the old game, and my childhood, cultivate an inhuman physical pain tolerance. I’m a sack of dead meat with a brain that won’t stop growing. I’m not the bad boy of literature. I am a bad man who happens to be literate. I don’t want to be ANY man of literature. I just want to pay my rent and be happy.

CC: For the uninitiated, which of your books would you recommend to the first-timer?

GG: DOG DAYS. It’s the best thing I’ve ever done, and I don’t see how I’m ever going to be able to top it.

CC: I admire your writing and am jealous of your talent and output. What advice would you offer to someone wanting to get their writing out there but perhaps not having the confidence to do so?

GG: Cut off your fucking ear and eat it on pristine High Definition video. No one’s done that yet. I was using a 2002 Kodak EZ Playsport that had dried blood on the lens.

CC: What’s next for Gene Gregorits?

GG: Husbandry. And Intra-Coastal. The magazine AND the novel. Thank you David. I had fun.

Ashlynn Yennie Interview

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Crimson Celluloid: The obvious first question is how does a nice American girl like you end up in Germany filming what will quite possibly become one of the most infamous horror films of the decade?

Ashlynn Yennie: First of all…how do you know I am nice? ahaha… kidding… I am actually so sweet it is sick sometimes! We actually shot the film in Holland right outside of Amsterdam. It was a pretty quick process for me. I went into the audition… I was told it was a “controversial, European film” (not until I went to the first audition did I learn it was a horror. I had the option to stay or the leave… I read the synopsis and watch girl after girl walk out in shock. I was less shocked and more intrigued. I went into the room and there was this beautiful woman sitting there and she said “hello”… that was the producer Ilona… I sat down with her and asked SO many questions… I auditioned ,had a callback and had the part all within 3 day… a week later I was on a plane to Holland Continue reading

Oriana Small aka Ashley Blue Interview

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Crimson Celluloid: As a fellow devotee of sleaze what, to you, is the difference between good sleaze and bad sleaze?

Ashley Blue: Sleaze is always good. Bad sleaze is just good sleaze, and therefore redundant. The more someone grosses me out, the cooler that shit is. The only bad in the world is the boring.

You were justifiably known as the “queen of extreme” in porn, a woman who would try pretty much anything once. Was there ever a time you thought “I’ve gone too far” or “this is going to kill me?”.

Yes, when I did my first gang bang. Seven cocks roughed me up and ripped my holes until I was just obliterated in a wheel barrel. The movie is called, Seven the Hard Way, Red Light District produced it. Great sleaze in that one!

Despite your willingness to try almost anything you draw the line at being involved with Muslims (judging by a cool interview I saw)…this made me fall in love with you a little bit more. Where did this vehement hatred come from?

I was an angry teenager growing up. Then I started porn at age 20, so I was still an angry teenager at heart. I hated my mom and dad, my entire family. I was resentful that my dad ignored me and my mom was a drug addict. I had a lot of energy to put into my scenes that came from my emotions inside.

I had the pleasure of meeting Max Hardcore, he worked with you early on and spoke highly of you. What memories do you have of the experience? Like you, he has a public persona of being an extreme individual but, in his private life, is one of the nicest people you’d ever meet.

Max Hardcore is my friend. He is a porno icon and innovative performer. He has shown me, and the world many things we still practice, such as: upside down face fucking, anal gaping, face speculum, as well as various other uses for a speculum.

Are people surprised when they meet you how “normal” you are? What kind of feedback do you get from fans/fetishists? Any weird/scary encounters?

Sometimes I get letters from prisons. That’s always a little scary.

You must have met some real bottom-feeders (all rimming jokes aside) in the porn industry. Dish the dirt on the people you love and hate in the industry.

I love them all. For every flaw and perfect imperfection. Porno People are so fun. Never a dull moment

You were refreshingly honest and open in your great book Girlvert no sugar-coating, some embarrassing truths, a wonderful author pic of you with your fist in your mouth (when was the last time you saw that on a Stephen King book….or wanted to see that on a Stephen King book?!!)…it’s hard to imagine you left anything out…what kind of feedback have you received on the book? Did you leave anything out?

Thank you! I am so honored to even be mentioned in the same sentence of such a great writer. My book’s feedback has been very supportive and I couldn’t be happier with the response from women, feminists, men, porn fans and other non-sex industry people. Thanks guys!

You sometimes personally enclose locks of your pubic hair with signed books (an idea I believe you stole from John Grisham)….this is a nice touch. Will the follow-up book contain bodily-fluids?

I didn’t know John Grisham did that! Sweet 🙂 I love The Firm. I don’t know though, if the right edition and limited art run happens, I promise to include a personal piece of filth.

If you were to initiate someone into the world of Ashley Blue, which films would you recommend they watch and why? Which films are your favourites?

It’s very easy. Just watch the entire Girlvert series from 2-19. Then all the Attention Whores series. White Trash Whore 30 and my Inside The Porn Actor’s Studio special on Howard Stern TV.

What advice would you give someone just off the bus, arriving in Hollywood, with a career in porn in mind?

Guys need a big dick. Girls need to be pretty enough. That is basically it for success.

What is the day-to-day life of Ashley Blue like these days?

I write for Hustler Magazine and review for AVN Magazine. So, I’m writing and working on that, and having a great time with my Husband, Dave Naz.

Promote your blog, hype your book here.

davenaz.com/oriana, @girlvert on twitter and Instagram

Any final words for your Aussie/NZ fans?

It would be so cool to visit your country! Both! I can’t wait! Someday I will 🙂

Order Girlvert: A Porno Memoir here.

Patrick Donahue Interview

Kill-Squad

Crimson Celluloid: Starting with a predictable and clichéd question, can you cite which filmmakers have had the greatest influence on you and what was the impetus behind your getting into filmmaking?

Patrick: I got into filmmaking from racing motorcycles in the mid 60s, crashing breaking both collarbones then my nose. I read an article in a motorcycle magazine; the stunt guys were getting paid $800 dollars for sliding out in a corner. I’ve have been doing this for years for nothing and even paying them to let me race. “That’s it I want to be a stuntman.” Yeah, that sounds easy right. No one would talk to me, so I said, “The hell with you, I’ll make my own movies.”

My first movie was a 8mm three minute short. I dressed my brother Mike up like a Hobo; they were Hobo’s back in the day now they’re called Homeless. We went down to the railroad tracks in Santa Clara California. I had him jump on a slow-moving train. He climbed to the top of the train and sat there. About a block away I stared to yell, “Get off the train, got off.” I don’t know if he heard me, but he finely got off and I got some great footage. I edited it, and it turned out to be pretty good for a first time. I said, “This is fun; I like this; I wonder if there is a school around the teaches filmmaking?” De Anza College has great film classes; they were halfway through the second semester, and they wanted to see something I did, I showed the class my short with my brother, they all liked it. The instructor didn’t say a word; he just signed my paper to allow me to attend the rest of the classes. When the classes were finished; I took eight film students to Death Valley in California, and we shot Chained a fifteen-minute short; circa 1800s. (The only western ever produced with NO horses.) Continue reading

Gina La Piana Interview

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Crimson Celluloid: Firstly, for the uninitiated can you give a bit of background information about yourself.

Gina La Piana: I’m from Brooklyn, NY but was raised by my father in Corona, CA. I had a challenging upbringing and found myself drawn to music and acting because it was my way of tuning out all the noise and dysfunction. It was my complete escape. My dad is an incredible musician, so obviously I was exposed to music early on. I also zoned out my surroundings by watching I Love Lucy. I wanted life to be fun like it was on tv. That’s why I chose this profession – to make people laugh and feel in the way Lucille Ball had brought light in some of my darkest times. In a weird sort of way, she feels like a surrogate mom, lifting my mood when I had a bad day and reminding me not to take everything so seriously. Even now, if I’m anxious about something, if I just turn on a little I love Lucy before bed and I’m all good.

CC: You’ve done a wide variety of work, from sit-coms through to soap operas and horror films, is there any particular genre you like more than others? Continue reading

Kathleen Wilhoite: The Murphy’s Law Interview

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Checkout Kathleen’s Podcasts here: Suckthejoy.com

Anyone who has seen the Charles Bronson action/grindhouse crowd-pleaser Murphy’s Law will no doubt be familiar with the name Kathleen Wilhoite. Her turn in the film as the street-wise Arabella stole the show from her older and more established co-stars. Be it kicking Bronson in the nuts or her use of creative insults at every turn she simply ruled the film. Since that great 1986 film she’s had an extensive career in film, tv and on the stage…but, as you’ll soon discover, hasn’t been utilised as an actress as much as she’d like of late…her fans, of whom I consider myself to be one, hope this will soon change.

Crimson Celluloid: When I mentioned that I would be interviewing you the universal response was one of “she’s GREAT!” and “She rocked MURPHY’S LAW” etc…have you had much similar feedback over the years?

Kathleen Wilhoite: In general, people are very nice and supportive. Unfortunately, since I’m in a bit of a slump, it seems I’ve been hearing things like, “Did you quit acting?” and “You were so good, what happened?” These kinds of lunk-headed things. I know people mean well, but walking through the answers to some of the questions is depressing. Answer: “Um, no. I didn’t quit acting. I can’t get a job. I’m not getting cast in anything. I feel like a has-been . . .” None of the answers are pleasant.

Crimson Celluloid: As a 20-something actress it must have been quite the kick to appear in such a popular mainstream film. When you think back on that time what are your key memories?

Kathleen Wilhoite: I remember Charlie. I remember doing scenes with him in the car where it was just the two of us and we had long periods of time together and he would, out of the blue, ask me a question, to start up some kind of chit-chat. He was funny and smart. I was careful not to speak to him unless spoken to. They had told me not to “try too hard” with him before shooting started. We formed a sweet working relationship. I remember when he felt the production was lagging, he’d say, “Let’s shoooooooooooot.” It was funny. I remember Carrie Snodgrass. She was my friend. She was an amazing actress. She taught me how to break down my script and organize my scenes. She was extremely generous with me.

Crimson Celluloid: Do you recall much about the whole casting process and how you came to be put forward for the role?

Kathleen Wilhoite: The original script was written for an actual potty-mouth, someone who had dialogue that resembled something a person would actually say, a street person, a person who swears a lot. I have always talked like a sailor so the words tripped off my tongue easily. I seem to recall that ultimately it came down between me and Apolonia. I might be wrong about that. Maybe she turned the role down. I don’t know, but I remember her name being tossed around. Charles Bronson’s wife, Jill, was also an executive producer on the film and she was extremely supportive of me. She was english and funny and smart. I kept getting called back. I must have gone in four or five times. I got the part and then was delivered the script. They had rethought the swearing and turned her “potty” mouth into what it is today—a bunch of odd phrases no one but a mentally ill person might say. My challenge then became, How to make this strange dialogue believable. I did the best I could.

Crimson Celluloid: What were your opinions of Charles Bronson and Carrie Snodgress when you first met them?

Kathleen Wilhoite: Oh. Well, I think I answered that. I liked them a lot. Both, pros, both, kind, both, smart good actors. Charlie, I had a healthy respect for, and Carrie was someone I enjoyed hanging out with.

Crimson Celluloid: Charles Bronson’s mustache was said to have mystical powers, did you ever witness any evidence of this?

Kathleen Wilhoite: No. Hah. I have never heard of that before.

Crimson Celluloid: I revisited the film recently and on the surface your character Arabella had the potential to be the most annoying in history with her non-stop insults and aggressive nature. Were you worried about how she would be perceived?

Kathleen Wilhoite: Not at all. I was fairly “bullet-proof” back then. I never thought how I would be perceived. I was just happy to have a job.

Crimson Celluloid: It goes without saying that you won people over with your performance. Were all the insults scripted or did director J. Lee Thompson give you the chance to improvise? My fave insult is when you deliver the pizza to the mafia goons with a hearty “Hey Anchovy!!”.

Kathleen Wilhoite: No, I didn’t improvise. I had some resistance to the dialogue, actually. I thought it was silly. I come from a method acting school, a school that teaches its students to create real people, to connect to everything you say, to honor the playwright. So, when they were wracking their brains trying to think of the weirdest and goofiest insults possible, it felt super cheesy to me. I did it because, again, I was happy to have a job and acrimony in the work place is not something I think is conducive to a creative environment. I like having fun when I work. I am a better actress if I feel supported and peaceful at work. If that means I have to say a bunch of silly shit that no one would ever say unless, as I’ve said before, they’ve got emotional trouble, then I’ll say it. Once I got that rewrite, I knew that I’d have a mountain to climb if I wanted to get it changed back to the way it was. I had never had such a big part before. I was unwilling to make that climb. I’m positive i would have gotten fired. So, I made the best of it. It got a little weird when after the film came out, I was doing a play in New York and a homeless guy followed me down 8th ave, saying, “Hey, donkey dork. Hey, hey, donkey dork.” I’d forgotten that was a line from the movie.

Crimson Celluloid: As an actress, did you work on a back-story as to why exactly Arabella was the way she was?

Kathleen Wilhoite: I did, but again, once they got stuck on making her dialogue the ramblings of a crazy person, I lost my inspiration and just went to work to do my job. My goal, my back-story became — “Don’t suck.”

Crimson Celluloid: I’ve noticed that some fans of the film have developed a drinking game in which you take a shot each time Arabella insults someone. Would it be possible to pass the half way mark of the film without being totally hammered?

Kathleen Wilhoite: Hah. I didn’t know that. That’s funny.

Crimson Celluloid: Have you had any interesting or weird fan interactions over the years?

Kathleen Wilhoite: Well, I had the donkey dork thing. Honestly, the weirdest, worst thing people say to me is when they ask me if I’ve quit acting, or “Why don’t you work more? You were so good,” or “I don’t mean to be rude but I know I know you from somewhere. What movies have you done?” I mention something I think they might have seen and they’ll say, “Ummm, no. Not that. Oh, no. Not that. Oh, I hated that movie. No, so what was it? I know I know you from somewhere. Name something else you’ve done.” It’s awful. Now days I just come right out and say that it’s a hell of a thing to ask an aging actress. It’s not easy out there. I’m trying to work and haven’t gotten anything in a while. I guess I’m in a slump. I don’t think they’re trying to make you feel like a total failure/loser, but—really, what answer to the question, “Did you quit acting?” will ever not be awkward? I guess if you actually did quit acting, it wouldn’t be so bad, but it still implies that you didn’t make it. You failed. I mean, being a professional actress is like hitting the lottery. Actually working, going to work, is where the winning is. As an auditioning actress, it’s a humiliating grind, and you have to constantly rediscover ways to turn each audition into an opportunity to create a solid character and connect to someone else’s material, and when you’re lucky and the casting people have taken the time to provide you with someone who can actually act, to read with, you might get to immerse yourself in a true performance. That’s fun, but it’s rare. I did that all last year and I didn’t so much as get a call back, so you caught me at a “Come to Jesus” kind of time, where I’m questioning whether or not I’ve played this part of my life out. Maybe it’s over for me. Maybe I should quit acting. I don’t know, but I certainly don’t want to discuss something as painful as failure with a fan of a movie I did a hundred years ago, so when they ask “Did you quit acting?” It’s a freakin’ loaded question.

Crimson Celluloid: It’s quite an intense film at times, was it an enjoyable and light shoot? Did director J.Lee Thompson speak endlessly about Planet of the Apes?

Kathleen Wilhoite: J. Lee was hilarious, talented, kind, and ran a tight set. I loved the cast and crew. I adored them. I was in Heaven doing that shoot. The intensity, the gory stuff was a blast. I’m a tomboy so running around with guns and getting “squibbed” was an extension of a good old fashioned “Cops and Robbers” game. I loved it. Getting “squibbed” is when they put a small explosive devise on you that when detonated, blood spurts out and a bullet hole appears. That stuff is fun. I don’t remember anything negative about that shoot. Oh, I remember, Charles Bronson used to tease me and tell me that the guy I was dating looked like a chicken. “He looks like a chicken, your boyfriend. He’s a chicken, right? He’s a chicken.” But, he was just being a goof.

Crimson Celluloid: You’ve had an amazing and extensive career in film and tv. From Murphy’s Law to ANGEL HEART (oooh, sexy nurses outfit….David wipes sweat away from his brow)..is acting everything you hoped and expected it would be?

Kathleen Wilhoite: I’ve had a great time of it. It’s just been surprising now how chewed up and spit out a person can feel after being a productive member of a business for most of their adult life. Anybody who’s worked in a business: maybe doctors, entrepreneurs, teachers, lawyers—if an attorney told you they had worked at a law firm for thirty years, you’d not be crazy to assume they were partners at that law firm, that now that they were in their late forties they were at the top of their game, with plenty of money and respect from their peers. Not so, with acting. You work thirty-five years as an actress, your agents will have a hard time getting you decent dressing room. You become willing to work for free, for the bare minimum, just to be working, just to feel like you’re still in the game. The parts I used to play now go to Canadian actors or aging moving stars that, due to their fading looks, have been pushed into playing character roles. So, that has left many of us chick character actors out in the cold.

Crimson Celluloid: Finally, you have an incredibly entertaining series of podcasts happening. Please fill your fans in on the kind of topics you discuss and where they can tune in.

Kathleen Wilhoite: Oh, fantastic. Yes. I love doing my podcast. It’s a blast. We talk about all sorts of things. We’ve interviewed actors, casting directors, fashion designers, make up artists, writers, show runners, convicts, all kinds of people. We’ve got a left leaning slant. Oh, we interviewed my friend, Dean, who’s a libertarian. We did a kind of debate style format on that one. We talk about movies, politics, music, all kinds of stuff. http://www.suckthejoy.com Go for it. Listen to it. I also spend the majority of my free time writing. I’ve written two novels. I write screenplays, poems and songs. I’m in the creating business and thank God, I don’t have to wait for other people to hire me in order to do it. I can do it whenever I want and it’s liberating. My goal next year is to put my stuff out there. I don’t do that very well. I’m a fear-based chicken shit. So, that’s my goal—to get out there.

Crimson Celluloid: Thank you very much for you time and for all the entertainment you have provided.

Kathleen Wilhoite: Thank you for asking me. I hope i wasn’t too much of a downer. I’m just being super honest. If you want to know whatever happened to the girl in Murphy’s Law then, as far as my career goes, this is it. Seemingly, not much. But, here’s the amazing news. Thankfully, my life is no longer centered around whether I’m a success or a failure in show business. My life rules, to be honest. I’ve got a husband who loves me and treats me like gold. I’ve got three outstanding children who blow me away every day. I laugh with my friends all the time. I’ve got my health, my dog, George, a car that runs, a community of people who support me—So, again, if anyone asks you, “What ever happened to Kathleen Wilhoite?” tell them she’s doing great. Tell them she’s happy and you won’t be lying. It’s true. I’m happy.

Michael Berryman Interview

Michael-Berryman

 

Crimson Celluloid: One of your very earliest films was One Flew Over the Cuckoo’s Nest, was it intimidating working alongside Jack Nicholson that early in your career?

Michael Berryman: Cuckoo’s Nest was my 2nd day working as an actor and when I wrapped, it was day 127. Needless to say, I was totally thrilled to be given the role and opportunity to be a part of film history! Jack was very open and straight-up honest and genuine. His charm is one of wit and passion. His frankness was disarming and relaxing, at the same moment in time. Jack made me feel an equal member of the incredible family that the cast and company became. One day Jack told me that if he was as tall as I was, that he would have become an NBA player. If you notice, during the basketball scenes, he was very poised and skilled. The same must be said of his acting. He was McMurphy.

What did you learn from working on that film that you carried throughout your career? Continue reading

Robert Maier on Low Budget Hell

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Crimson Celluloid: For the uninitiated, can you give a description of your book Low Budget Hell Making Underground Movies with John Waters?

Robert Maier: The book tells the story of my working for fifteen years with John Waters on five of his low budget films, plus many other adventures that came from my experiences on his movies. When I first met John, I was a pretty naïve kid from the suburbs. But I was curious and counter-cultural, and we hit it off.

A few years later I was working with big name actors, negotiating with top players in the New York City film industry, and hanging out with some of the greatest artists and musicians of the time—but always on very low budget projects. I started at the bottom where it was both painful and fun, and it changed nearly every minute. Continue reading

Tom Six Interview

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Crimson Celluloid: Human Centipede must be one of the most original ideas to grace a movie screen for quite some time, how did the idea come to you?

Tom Six: The idea came from a sick joke I made watching a child molester on TV. I said they should stitch his mouth to the ass of a very fat truck-driver as a punishment.

If I had one criticism of the film it would be the title. Did you ever have any alternate titles in mind?

Nope.

The film was notably bereft of any humor (unless you count the old pervert making lewd comments to the girls), did you worry the film might be too intense?

I knew when I wrote this script lots of people would be repulsed by the sick idea. But that’s for me were all the fun is as a filmmaker I don’t like to make movies where nobody would talk about so it can never be too intense for me.

Despite the graphic violence and confronting themes the film is very tame where it comes to nudity, why was this?

I didn’t want any sexuality involved into the story.

Are you concerned that now you’ve made this extreme horror film people will be expecting you to top yourself and be more shocking with each subsequent film?

Well I am shooting part 2 now in London UK and I promised myself and audiences everywhere part 2 will be way more extreme. Part 1 will be my little pony compared to part 2. I love making controversial films as long as they are original. Each film will be different and you can’t please everyone each time, so we will see.

Ashlynn Yennie told us that Dieter Laser remained aloof and in character for the most part during filming, what was he like to work with? He is a very compelling figure on the screen.

I admire Dieter a lot, his acting style, his intense charisma, his soul. He was born to play this character Dr Heiter and he gave it a 1000 %. I couldn’t have dreamt of a better actor for this part.

What do you believe are your strengths and weaknesses as a director?

My strength is I think my charm to get actors over their boundaries and take them to the next level. My weakness is I always want to hurry up, do the next shot or scene.

What memories do you have of working with the three lead victims?

These are three actors with huge balls. Most actors only want to be pretty in films, but they are real actors and gave it all to me. So I have only great memories of working with them everyday when shooting.

Which filmmakers have influenced you?

Pasolini’s Salo and the work of David Cronenberg. These directors are really big influences.

If you could go back and change anything about the film would you?

Nope.

You have been receiving quite a bit of good press from the hardcore horror fans. What have your experiences with the fans been like? Any bad experiences?

Luckily the hardcore horror fans are really surprised by the sick story and most of them like it and for those who thought it was to soft wait for part 2. A lot of people want me shot or sterilized on Facebook but I know for sure they are no horror fans.

I like films that are bleak and depressing, and the ending of the film really stays with you. Did you always have a sequel in mind or is it something that only came about due to the success of the first film?

I had so many more ideas when I wrote part 1, but I first wanted the audience to get used to the sick idea and now that they are I can go full force and use all the other ideas I had in part 2.

What are your feelings about the porn-parody Human Sex-ipede

Love it. Only the successful films from Hollywood are turned into porn parodies so I am really proud.

What can you tell us about the sequel?

It will have a 12 person human centipede and the tag-line is 100% medically INaccurate. The rest I will keep as a surprise.

Do Dutch people ever get tired of jokes about? fingers-in-dykes? and dutch ovens?

Luckily I never hear those jokes being said to me.

Thanks for the great film experience, I can’t wait to see what you come up with next.