Being a dentist by trade, how did you come to be cast in what would become Troll 2 and do you recall the audition process?
“Just for the fun of it I auditioned for the part in Park City. There were about nine non-English speaking Italians in a heavily smoke-filled room, and I read the ‘piss on hospitality’ scene.”

What were your initial thoughts when you first read the screenplay and how did you prepare for the role?
“I never read the full screenplay…. only in parts. It was so discombobulated that no one could understand the story. Very hard to decipher and to do scene analysis.”

Were you familiar at all with Claudio Fragasso or the Italian horror industry and did you view any of his earlier movies before you worked with him?
“Never even knew his name, nor even met him. Did not even know he was the director when I read for the part.”

Perhaps the most quoted line from the movie was when your character said ‘You can’t piss on hospitality, I won’t allow it!’ What was your own personal favourite and how difficult was it to remain serious as you were acting out these lines?
“My personal favorite is when I come down the stairs of the house and I say ‘Is breakfast ready, dear?’, and I was trying to act like i was still sleepy. what a joke! I never got that line right. I remember we did the take four or five times. It was hard to keep from laughing.”

Do you recall whose decision it was to rename the movie from Goblin to Troll 2 and how did you feel about this?
“Never knew the name of the movie ’til it came out so. Totally was surprised when the new title came out.”

Public screenings of Troll 2 become very interactive, with the audiences participating by reciting dialogue and shouting at the screen. This almost makes it an event, like the Rocky Horror Picture Show. Have you attended many screenings over the years and what memories do you have of these?
Just folks going crazy over the movie and seeing cast members from the film, it was like a blast from the past. Fans can’t believe they are actually meeting the cast members. It’s bigger than life for them. One unusual night was when a fellow dragged another fan in the theatre in a flower pot and he was garnished in plants and ivy.’

It seemed that for many years those who had worked on the movie had tried to distance themselves from it. Yet, more recently, you have come to embrace its legacy. At what point did you finally accept your place in movie history and how do you feel when you watch the film?
“I never watched Troll 2 in its entirety until about the third screening. It was hard to embrace and sometimes still is. Don’t think I will ever get over it. He-he, seriously, it’s been a fun ride.’

Was Claudio Fragasso aware of the film’s reputation and what memories do you have of him on set? Do you feel that he took the material seriously and how does he feel about the status the film has achieved over the years?
“Claudio is Claudio and I totally respect him and he really does not care what other folks think about his work. He simply works from his heart and does what he feels is right for himself in his directing films. And I like that about him. He makes changes at the spur of a moment and operates from his heart, not his head so much, which i think is good. He just made a simple horror films with green blood (his and Rosella’s ideas) instead of red. Which took on a totally different effect, and really made Troll 2 what it is today. We were all trying to make a really good movie, we really were… that quote comes from Darren Ewing, Arnold in Troll 2.’

How did you and the rest of the cast reunite after so many years and how come you chose to return to your career as a dentist and not pursue acting?
“Believe it or not, the internet brought all of us together, thus Best Worst Movie was made after our reunion. There was an invite on IMDb I stumbled upon in April of 2006, asking cast members to attend the first USA screening with cast members in Provo, Utah. It was April 13th, 2006. Somehow I stumbled upon IMDb on the 11th as I was getting hits on MySpace about the popularity of Troll 2 and the number 1 rank of bottom 100. So I attended the first cast screening ever of Troll 2 in USA. From there, wow, what a ride. I met Michael Paul Stephenson and he said to me, ‘Hey, wanna do a doc around this crazy phenomenon around Troll 2′ and I said, ‘Sure, I am in.’

How did Best Worst Movie first come about? With Troll 2 being so obscure, making a documentary about it must have been a gamble. Who first conceived the idea and how did you manage to convince others to join?
“First of all, it was very hard convincing other cast members to even interview with them for the doc. I can remember Michael and I both reaching out to the cast members time and time again, going through Google search to even reach them. It was really, really tough and then once we were able to reach time after tons of phone calls, then was the challenge of interviewing them. Several did not want to even let us interview, you won’t believe this but we finally found the last cast member of all, who we could not find nor inteview, for Best Worst Movie and that was the fellow who did the popcorn scene with credance the queen of the golblins.’

How long did it take to shoot and edit Best Worst Movie and what kind of support did you receive?
“It took Michael Paul Stephenson and myself from the start of July 2006 til March of 2009 to make Best Worst Movie. We started the project all on our own and then added more and more to the team, and more and more support came when they saw what we were doing.”

With the film having landed a distributor and a trailer now online, when can fans expect to see the film and will it be released theatrically or straight onto DVD?
“The film will be in independent theaters in Austin, NYC, LA and other cities starting April and then will spread out from there. Then the DVD will come about from that I am sure. Seeing Best Worst Movie in the theatre is and incredible experience. I have had folks say to me, ‘I dont know when I have laughed that hard in the theatres, period!’ It honestly is one of the funniest, yet most thought provoking and deeply layers documentaries i think you will ever see.’

How do you feel about Troll 2’s reputation as one of the worst movies of all time and how did you feel when you first saw the movie?
“Now I love the fact I can say to you, ‘Hey, I was in one of the worst movies ever made and now in one of the best documentaries (it feels more like a movie) ever made.’

Whilst there would be a movie released under the title Troll 3, there was never a proper sequel made to Fragasso’s. Had one been produced would you have been willing to take part, and have you ever considered making another movie yourself?
‘Of course I would love the opportunity to work with Claudio and Michael. Of course there can never be another Troll 2, but who knows. I have seen some pretty good sequels. I think what would be really insane and funny is to do something no one has ever done before… to do the movie exactly over again, exactly but with the same cast members. It would be insanely funny I think and bizarre.’

Share on Facebook

Tweet This Post

• REVIEW – Maniac Cop
• INTERVIEW – EDWARD DOUGLAS talks Midnight Syndicate
• A Decade of Horror – 2003
• NEWS – Suicide Girls Must Die Poster

Co-star Jason Cope discusses his experiences in District 9…

How did you first come to work with Neill Blomkamp and how did Alive in Joburg originate?
“Alive In Joburg was a concept that Neill had been thinking about – as a sci-fi fan, he had been thinking of the concept of creating a science fiction story in and around the environment that he grew up in. At the time I worked on the production side of visual effects, for a company owned by Sharlto. Neill came to Johannesburg to shoot his idea as a creative exercise, and we helped him to put it together.”

Due to your involvement in the short film, were you a part of District 9 from the very beginning and how did the project first originate? What part did Peter Jackson play in the overall development?
“Sharlto and I initially helped from a production side – It was clear that for alive the budget was going to be very small, and that we’d need to be creative. Sharlto and I were old hands at maximising extremely small budgets – We’d simply just do everything ourselves – wardrobe, art department, acting – a non-stop do-everything-right-now approach, combined with much creative networking, was the way we used to shoot. On the piece I ended up playing some of the aliens and a UN soldier, Sharlto played a sniper – while doing these we’d constantly be on our cellphones; organising the way ahead. I took Neill and Sharlto to meet Dave, a community leader in Soweto that I knew from a TV show that I’d been shooting. Together the small group of us organised everything for shoot: the actors, the guns, the aliens – we had a couple of days prep and then shot on the fly for a few days. Most of the stock footage in the piece comes from the South African Police video unit – after our shoot I went and scoured the police archives and picked up some interesting bits and pieces. Neill completed all of the post on the piece by himself, including doing all of the animation.

A long while later, and Peter Jackson had asked Neill to direct Halo; an adaption of the video game. By now, Neill was a highly acclaimed commercial director. When the film collapsed during the planning phase, Fran Walsh and Peter suggested that Neill adapt Alive for the big screen.”

How many different characters did you portray throughout the movie and how did you prepare for these roles?
“I have no idea. It must be close on fifty, perhaps more, but that is rough guess: There’s no real way to count. I’m not sure how I should define a “character” – is it an alien scuttling in the background, created using mo-cap? Or is it only the on set aliens with dialogue that count? There were some other motion capture guys that we used for mo-cap too. I did voices for the film too – that was fun – a lot of the reporter, chopper pilot voices and so on – it fools everyone except my close friends. A friend who came to the premiere was very confused: “why do you do so many of the voices too?” We laughed, but he was the only one who noticed, so it turned out fine. Whatever the case is, almost all of my time was spent as Christopher Johnson. I spent more time thinking about him than everything else combined.”

How were the special effects for Christopher Johnson achieved and how did you perform the character?
“Imagine Engine is a fantastic Canadian VFX company. They were in charge of the Alien VFX for the film. The aliens were designed by Neill and the Weta guys, and image engine and myself would have to bring them to life. Developing the character of Christopher was a long process. Sharlto and I spent about a month work-shopping the major scenes of the film before we started shooting. I tried out a vast array of alien personas: from raging and animalistic to timid and emotional: During this time we developed a library of movements and states for the creatures. Christopher was one of the most difficult things I’ve done: The layers of abstraction over his character were intense: He was a star wars VFX alien who couldn’t speak English and looked like a giant roach. And yet, the audience would have to end up liking Christopher, and nobody else. Neill wanted a journey for the audience: from revulsion to acceptance: working on than journey was challenging. We had to create a senstive, caring dad in the guise of giant roach, and yet not walk an OTT Disney road. With the great writing of Neill and Terry, a powerful creative environment and an incredible company like Image Engine, we all finally manged to create something that fitted the needs of the film.”

Due to the digital effects being added later, was your co-star, Sharlto Copley, present on set for you to interact with or was it shot as normal and then the CGI painted over you?
“In the large majority of scenes I was on camera – especially for scenes when Sharlto and I are talking to each other. I was then painted out and my movements used to provide a rfernce for the animators.”

District 9 is noted for its political subtext, with the aliens being restricted to a ghetto and referred to racially as ‘pawns.’ Would you say that this mirrors the current racial climate of Johannesburg and was Blomkamp making a statement with this story?
“Well, the film deals a lot with the concept of the “Other”. It’s steeped in apartheid references and littered with nods to the South Africa that we grew up in. We’re still a country that faces many problems with xenophobia, and a slew of other toxic social issues. The film was only coincidentally linked to theethnic murders that took place in Johannesburg while we were shooting. I think all in all, that one can have an interesting time dissecting the film, but I also enjoy just watching it in a Hollywood way: This is South Africa and yes; we have a twisted and often brutal past: But perhaps we’re gettingourselves a bit and just making an action flick. I enjoy watching the film in South Africa and hearing the audience bellowing with laughter at all of the bizarre things that are aspects of our lives.”

The ending of the movie is left open, allowing for Christopher to return to Earth to save Wikus Van De Merwe, yet instead Blomkamp has allegedly expressed interest in a prequel. Do you know if either is being seriously considered and which would you prefer to take part in?
“Well, I think nothing has been decided yet. I’m whatever will be shot will be fun to do.”

District 9 has been nominated for several Academy Awards. How do you feel about the success and acclaim this movie has received and what affect has it had on your career?
“It’s a little strange for us. What started out as a small group of guys making an extremely low budget short, for love of film alone, has ballooned into something global. I feel a little shocked. Then again, it’s wonderful to see the hard work of everybody being recognised. We worked with an extremely dedicated, passionate cast and crew; people who poured themselves wholeheartedly into the picture. Well done to all of them.”

Share on Facebook

Tweet This Post

• CULT – Last House on Dead End Street
• ZOMBIES – Night of the Living Dead
• REVIEW – The Hitcher
• NEWS – Street Trash Writer to Remake Fiend Without a Face

One of the more memorable performances came from Parry Shen, who portrayed the useless swamp tour guide Shawn. Now he’s back again for the sequel, this time playing a completely different character. Parry discusses his experiences making Hatchet 2…

Having previously collaborated with Adam Green in Hatchet, how did you become involved in the sequel and how does your new character differ to the one you had previously played?
“Adam initially wanted to bring everybody back that he could – but due to the body count of the first one — that was going to be quite the challenge.

However in H1, when my character (Shawn) confesses he’s only given the Swamp Tour once — he mentions that his BROTHER hooked him up with the “touristy gig”.

So viola! Enter Shawn’s less-incompetent, twin brother — JUSTIN.

Justin works at Reverend Zombie’s (Tony Todd) shop and when he discovers Shawn hasn’t come back from the night before, he heads into the swamp to find his brother and bring him home.

Justin’s got a different vibe than Shawn — he relies a little less on the showmanship, he’s got a buzz cut, goatee and is very protective about his brother.”

Your turn as Shawn in the first movie was rather reminiscent of Alan Ormsby’s performance in the cult classic Children Shouldn’t Play with Dead Things. What kind of instructions did Adam Green give you on how to portray the role and were you inspired by any particular performances?
“We kinda found the character together during the ‘04 audition.

Adam suggested a ‘Ring Master’ type during one of his adjustments during my read and that helped me lock into the over-the-top showmanship that the room seemed to like.

However in the initial script, Shawn was supposed to drop the Southern accent and then go into his Asian accent for the rest of the movie — and I just didn’t want to contribute towards an audience seeing yet another foreign Asian stereotype being portrayed on screen again. But at the same time, I entirely understood the joke of having the switching accents.

So I suggested doing something like Ken Leung’s great performance in Keeping The Faith as the Karaoke salesman, where he eventually drops his Asian accent when he’s about to lose the sale. So at a critical point in H1, Shawn drops his as well.

It was really the finishing touch to the character. Not only did it create a new progressive Asian character on screen but it also kept in line with the character being a con artist, not knowing who he really was — and we were able to milk the accent joke for one more beat when I get into the fight with Marcus (Deon Richmond).”

Have you shared many scenes with Kane Hodder and were you already familiar with his Jason Voorhees legacy before signing on for Hatchet? How would you describe his attitude and approach to his role?
“I only did the one scene with Kane when he eliminates me (tomorrow will be my second) and I was well aware of his legacy as Jason before coming onboard. Come on, now — in this day and age, first thing any actor does is IMDb all their co-stars/producers/directors on the call-sheet!

Kane’s a pro. As the stunt coordinator on set, he makes sure you’re safe and that you are informed how and what details the kill will involve.

As the actor for Victor Crowley, he knew how to ‘help’ keep the realism alive for the other actors – which meant never seeing or hanging out with him in the Crowley costume so that we wouldn’t grow ‘used’ to it by the time the cameras rolled. So when he pops out from behind, half the acting of being terrified is already done for us.”

Would you describe yourself as a horror fan and slasher movies in particular?
“I wouldn’t say I’m solely a horror/slasher fan — but a fan of movies. Be it any genre. Hell, I didn’t think I would like How to Lose a Guy in 10 Days — but as long as the story is well told, the visuals and performances are strongly melded and I have a fun ride and experience some escapism… I’m game.”

As with Hatchet, the sequel is full of cult horror stars such as Tony Todd and Danielle Harris, as well as director Tom Holland and FX artist John Carl Buechler. With so much talent on set, how would you describe the atmosphere and did you find this overwhelming?
“I’d describe the atmosphere/tone on Hatchet II to be extremely professional — slightly more so than the first one. Now that is absolutely NOT a slam on the cast of H1 — it just means there were less pranks played on folks and no cast renditions of Sir Mix-A-Lot’s, Baby Got Back in between takes. It was just a little more about getting it done — although in hindsight, I should’ve hummed a few bars of Baby Got Back and who knows? Perhaps Tom Holland might’ve jumped in. But now I’ll never know.

I wouldn’t say it was overwhelming having all those cult horror stars present but rather being eager to work with people who obviously know what they’re doing. It’s like playing tennis with someone who’s good and looking forward towards rallying back and forth — seeing what they’ve got up their sleeves, showing them what you’ve got… the bouncing off each other and discovering the stuff beyond the written words.

Seeing that action and going head to head in a certain scenes with this cast made me think several times, “Yeah, I can see why he/she works so much.”

Hatchet was notable for being extremely violent and gruesome, as well as featuring a fair amount of nudity. Can fans expect more of the same the second time around or will they be even more explicit?
“It’s the sequel. Ain’t no point in making it if it isn’t gonna be bigger, better and more explicit.”

If Adam Green decides to make a third Hatchet movie would you be willing to return, and what is it about these films that you have enjoyed the most?
“I am and always will be down for whatever Adam invites me to do.

I did his Halloween short, I did his Halloween short, The TiVo in ‘08:

http://www.youtube.com/watch?v=akl3I5tYy2g

His project with XBOX 360, Fairy Tale Police in ‘09:

http://www.youtube.com/watch?v=37CmQTFJ090

I just admire how well he balances tension, drama and humor in everything he does.

In particular with the Hatchet franchise, I love how this universe and backstory is coming together — where after seeing Hatchet II, people will be looking at certain scenes differently in H1 and understanding how they finally tie in with the sequel.

No scenes in H1 were unintentional — no matter how random. Each one was deliberately placed to add to Adam’s grand arc of the Victor Crowley story.

Once folks see what unfolds in Hatchet II in October, the first movie will seem like a treasure trove of ‘easter eggs’ upon a re-watching. H2 is indeed a continuation of what happens where H1 ends and digs further.”

Share on Facebook

Tweet This Post

• CULT – Faster, Pussycat! Kill! Kill!
• INTERVIEW – JASON COPE talks District 9
• NEWS – Rock and Shock This Halloween
• CLASSIC – One Million Years B.C.

Shavar Ross, known to Jason fanatics as Reggie the Reckless, looks back on his experience twenty-five years later…

It’s been over twenty-five years since the release of Friday the 13th: A New Beginning. How has your opinion of the movie changed in this time and how did you feel about the script as you were making the film?
“I respect the film a lot more than I did back then. I’m amazed at how many teenagers are into the series, even though a lot of the earlier films in the franchise are way before their time. As far as the script, I thought it was kinda funny. Never took the movie seriously at all.”

You were one of only a few child actors to star in a Friday the 13th movie (the other notable one being Corey Feldman). What kind of restrictions were you given with regards to what you were allowed to do on set and do you feel your co-stars treated you equally?
“Everyone was treated equally I suppose but I was sorta sheltered because I remember going to school a lot and hanging with my set teacher most of the time when I wasn’t filming. I don’t remember seeing any nudity until the film came out.”

What are your thoughts on the horror genre and were you a fan of the franchise prior to being cast as Reggie?
“To this day, I have never seen a Friday the 13th film other than Part 5, the one I was in. I take that back, I think I went to see Part 6 out of curiosity ’cause I was originally asked to be in it.”

Danny Steinmann’s screenplay (co-written with Martin Kitrosser, and David Cohen) was notable for featuring graphic violence and nudity, although much of this would be censored by the MPAA. Do you recall how different the original draft of the script was to the cut that was released?
“I wasn’t aware that Danny wrote the script?? I’m sure there were some revisions during the shoot but I don’t recall.”

It has also been stated that Danny Steinmann was unpleasant and somewhat sleazy. What were your thoughts on him and was there ever an incident in which he was out of line?
“I thought he was a pretty hip director then. He was always cool, kind of a tough guy back then—nothing out of line with me. Today he’s a lot more laid back. I was so excited to re-unite with him. We’ve hooked up for like 4 or 5 things pertaining to the movie recently.”

There has been speculation over the years that the set of A New Beginning featured a lot of drug use. Were you aware of this and what kind of problems did this cause?
“I’m sure there was a lot of that goin’ on on probably every F13 sequel ever made. Just kiddin’. I don’t recall me smelling any weed or anything on the set.”

Were you disappointed that it is revealed at the end of the film that the killer was not really Jason Voorhees? How do you feel about the criticism that many fans have against the movie due to the plot twist?
“I was sorta disappointed but I accepted the fact that the were tryin’ to do somethin’ a bit different. There is, however, a select few of fans who think Part 5 was the best in the series.”

What was your favourite scene to shoot and did you receive any injuries during the shoot?
“My favorite scene was all the fake rain and running scenes. I actually fell (for real) in the movie chasing Pam.”

Many actors tried to distance themselves from the franchise but over recent years they have come to embrace their fan base. How did you come to terms with your involvement and are you proud of what you achieved?
“I’ve been asked to attend F13 events for many years but always passed but changed my mind recently because I wanted to reunite with the cast. So far it’s been a blast.”

Reggie was initially to have returned for Part VI, but you allegedly declined when you were told that you would be killed off almost immediately. What do you recall about the death of your character and do you regret not being involved in the sequel?
My head getting’ chopped off in the opening. That’s what I remember my dad alerting me to. Nope, no regrets. Not to many “black folks” live through the end of the movie so I’m very proud of my decision!”

Did you remain in touch with anyone from the movie and how did it feel to reunite with them once again for the documentary His Name Was Jason?
“I’m still enjoying the process. Still an amazing and fun experience, even after all these years.”

Share on Facebook

Tweet This Post

• REVIEW – Assault on Precinct 13
• REVIEW – Basket Case
• TRAILER TRASH – The Blob
• CLASSIC – One Million Years B.C.

Branko discusses his small role in the movie…

Having primarily been known for your work on low budget productions, how did you manage to land a significant role in the upcoming remake of The Wolfman for Universal? What kind of audition process did you go through and did you have to fight to win the part?
“My agent set up a meeting with casting director Priscilla John. She is one of the most important and influential casting directors here in the UK, she did the casting for high profile features such as Frankenstein, Pirates of the Carribean, Van Helsing and Eragon. I met her the first time when The Wolfman was still in pre-production and Mark Romanek was still attached as director. I met her again a while later when the film was already shooting and Joe Johnston took over. She was looking for Eastern European actors to play the Gypsy parts. Geraldine Chaplin plays Maleva – a brilliant casting choice in my opinion!”

Prior to your involvement in the production, were you already familiar with the 1941 Lon Chaney picture and would you describe yourself as a fan of horror?
“I loved the original Wolfman and I am a huge fan of the horror cinema. I grew up with Dracula, The Wolfman, The Invisible Man and The Creature from the Black Lagoon. I was recently involved in a TV thriller called Whitechapel about a Jack the Ripper copycat story in today’s London. I played one of the main suspects, a creepy morgue man and that was fantastic and fun to do and I would love to do more in this direction. I am originally from the Serbian Carpathians so I feel very comfortable around vampires and werewolves. People over there are very superstitous and still believe in these things.”

Without giving too much away, how important is your character to the story and how did you prepare for the role?
“Honestly, it’s not a huge part and unfortunately, I did not have any scenes with Anthony Hopkins. I play one of the Gypsies in the camp. But it was a fantastic and unique experience and since I loved the original one I just wanted to be part of this. It’s a wonderful story with a brilliant main cast and a very good director.”

With this movie featuring a significant amount of CGI, how would you compare it to your previous work and how confident did you feel having to act against effects that you were unable to see?
“I didn’t have to deal with CGI. We were shooting at Pinewood Studios in London and the very first day I walked on set and met Joe I saw Benicio in full Wolfman costume and it looked so scary as it was so real! Rik Baker who did the special make up effects is a true artist. Everything was very very real. We had real horses in the camp, real grass, real fire – it was a fantastic set and for me it felt like being in another world.”

This kind of project could open doors for you in Hollywood. Do you have any kind of plan on where you hope to take your career next?
“An actor’s career is so unpredictable, a lot really comes down to luck and being in the right place at the right time. But I have tasted blood and would love to work more in the horror/thriller genre. I would love to become a cult horror star like the great Bela Lugosi when I grow old! (Not Boris Karloff! ; ) )”

Share on Facebook

Tweet This Post

• INTERVIEW – The Ladies of The Evil Dead
• INTERVIEW – APRIL MONIQUE BURRIL talks Chainsaw Sally
• SLASHERS – Madman
• INTERVIEW – SHAVAR ROSS talks Friday the 13th: A New Beginning

Sarah took the time out to discuss with us the making of Nun of That…

When did your association with Richard Griffin and Scorpio Film Releasing begin and was Nun of That your first starring role?
“I first worked with Richard and the SFR team on Splatter Disco, which was about 3 years ago. A fellow actor and friend, William DeCoff knew Richard well and knew that he was looking for a female lead for the film and so suggested that I audition for the part. I did and Richard offered me the role on the spot. After filming was completed, they asked me back and since then I’ve done three other films with them: Beyond the Dunwich Horror, Nun of That, and Atomic Brain Invasion, which we just finished shooting. Nun of That is not my first starring role as I have had lead roles in Richard’s other films in addition to many with other companies, however it is the first one where I am so heavily featured (with my name above the title and with just me on the DVD cover and so on) and I’m very thankful to Richard for giving me that opportunity.”

The movie explicitly referenced the so-called ‘nunsploitation’ movies of the 1970s, which often featured nuns committing violent acts or seeking revenge for some wrongdoing. Were you familiar with any of these types of films and what kind of preparation did you do before portraying Sister Wrath?
“I was not aware of nunsploitation films before starting this project, it’s a whole new and fascinating world to me and makes me wonder what other interesting things I’ve been missing! In preparing for the part of Sister Wrath, I’d say the biggest challenge was to be threatening and tough without yelling. I naturally have pretty sweet voice, and Richard wanted me to be forceful, but not yell, so I needed to find a way to overcome that. I watched some fem-fatale films in order to get in the mindset of the strong female character and found Kill Bill to be an especially good place to draw inspiration from.”

What were your initial thoughts when reading the script and did you have any kind of hesitation about taking on the role? How did you become involved as ‘Associate Producer’ and what control did that give you?
“Since I was involved in the original short film which was done as part of the 48hr Film Festival, I already knew what the film was going to be about before reading the script. As a team during the challenge, we were all contributing ideas to be part of the short, so I was there for the birth of the project really even before it become a feature film. There were several drafts of the script along the way (some which I contributed scenes to even though they didn’t make the final cut) and each draft kept getting funnier and funnier as we went along, so I guess my first reaction to it was to the comedy and to how funny I thought it was and with that, there was no hesitation taking the role. As far as my involvement as an Associate Producer, I honestly didn’t even know I was going to be receiving that credit until after the film was completed. Everyone chipped in what we could here in there be it in locations or props or time spent crewing but I guess Richard felt that I deserved that credit.”

Many filmmakers seem to be taking inspiration from the exploitation movies of the 1970s and this is evident from the promotional material for Nun of That. What kind of films in particular were an inspiration to the look and feel of the movie and were there any actresses that you based your performance on?
“As far as films that were an inspiration for the look and feel of the film, that’s a question that I honestly can’t answer and would be better suited for Richard and Ted Marr since they are the geniuses that created the world of Nun of That. Richard did show us some films from the 70s that he was using as a reference, but I don’t remember their names at this point. As far as my performance, I looked to women who kicked ass and looked good going it. Uma Thurman from Kill Bill was definitely the top one, but also Angelina Jolie in Tomb Raider, Keira Knightly in Domino, and a bit of Princess Leia. I was looking for strong women who were very independent.”

How long did principal photography take and how far were you willing to push yourself? What would you say you have achieved with this role that you had not managed with your previous films?
“I believe that principal photography lasted for about 3 month. For me, I think some of the fight choreography was what really pushed me. I’d taken combat classes and did a lot of sports growing up, but never had done a choreographed fight before, not to mention that David Lavallee (Viper Goldstien) who I did most of the fighting against, is a very skilled legitimate martial artist, so that was a bit intimidating. In some cases, like the fight in the dojo with the ninjas, the choreography was created on the spot and so I was pretty proud of myself that I was able to pick up on it, put it all together, make it look pretty good, and not get hurt in the process!”

What do you think the image of a young nun with a gun is so appealing to audiences, particularly young male viewers?
“Haha! That is an excellent question! I think it has something to do with nuns being one of the ultimate symbols of purity and then taking that and flipping it on its head. Men in general are of course attracted to attractive females, but take that attractive female and tell a man he can’t have her and then he wants her even more. That’s basically what you’re doing by putting on a nun habit. It’s the ultimate in rule breaking when you sexualize a nun.”

Many nunsploitation movies would fall foul of both critics and censorship boards around the world, with Killer Nun even finding its way onto the UK’s ‘video nasty’ list. Has Nun of That encountered any issues due to its religious or violent content and how has it been received so far?
“Thus far it has been fairly well received. After the first screening of the initial short film there were some who were offended by it, however they didn’t make a big-deal out of it, they just expressed their dislike and carried on their way. There have been far more positive remarks made about the film than negatives ones. Surprisingly, when the trailer for the feature film was released, a real nun saw it and commented on it on her blog, A Nun’s Life. Of course when I heard this, I thought that she would be condemning the film, but when I read her blog, she actually had many positive things to say about it, particularly to the way that the film shows nuns as strong independent women. At no time in the film are nuns ever portrayed as being a negative force, they are constantly fighting for good and for justice even if you don’t agree with their means, so in that way, it’s not really a negative films for nuns. And the film doesn’t pick on any one religion either – they’re all in there in one way or another, so if you have a sense of humor about it, you should be able to see that it’s a fun film that isn’t meant to be an attack on any one religion.”

How did Lloyd Kaufman become involved as The Pope and what association does the movie have with Troma, particularly as Debbie Rochon also appears?
“There was already a prior relationship with Debbie and Richard since she has been in Splatter Disco, and when trying to find someone to play the first Mother Superior, he thought of her and asked if she would be interested. She accepted and apparently enjoyed her time on set and liked the script so much that she told Lloyd about it and he then contact Richard asking to be part of the film.”

Some feel that low budgets cause independent films to suffer, others feel that it allows filmmakers the freedom to be creative without the influence of the mainstream. What would you say are the plus and negative points to working on low budgets?
“The negative is obviously that you have a limited amount of funds to get the job done, so you need to scale back on the “nice to haves” and focus just on the “need to haves”. Also, you aren’t able to market the film as much as you might like to be able to since marketing can often cost more than the film itself. The positive is that it forces you to be more creative, to think outside the box. For example, in the opening of the film where I’m in the shower with the other nun, Ted actually built that shower in their living room. It would have been far too costly to rent out a large shower like that, so instead, they just took some sheets of linoleum and built it themselves. Working with a low budget also seems to make the shooting process go a lot faster from what I’ve seen. I’ve been on projects with higher-budgets where there are tons of people, and those sets just drag on forever. With a low budget film, you only have what you need there and the people that are there are there because they believe in the project and aren’t just looking for a paycheck and I think that makes everything run much more smoothly.”

Do you think that Nun of That could lend itself to a sequel and would you be willing to don the habit once again?
“Without saying too much, but there has been some mild chatter about possibly doing a sequel and if so what sort of plot lines it could follow and if it is to happen, then I would of course wear the habit once again.”

Share on Facebook

Tweet This Post

• VIDEO NASTIES – Contamination
• NEWS – Fritz Lang’s M Coming to Blu-ray
• REVIEW – Saturday the 14th
• REVIEW – Do Not Disturb

Bianca took some time out to discuss her career to date…

Do you find that it is difficult for a young actress to work in the industry without having to strip for the camera at some point?
“I’m sure it is at times, but I don’t have a problem with it if it is done tastefully and PROFESSIONALLY. I have never claimed to have a perfect body- in fact, I am flawed, and so hopefully other people watching will realize that you don’t have to hate yourself because you don’t look like a photoshopped movie star or model.

I do have a problem with romantic or love scenes, though. I hope I never have to do one! I don’t want to kiss some other actor or simulate a sex scene. Awkward! That being said, I will NEVER compromise my personal values for a part in a movie.

You’d be surprised how many creeps there are in the industry! At the moment, I’m turning down most offers I get for films because I am ready to move onto something more challenging. I feel that I have done my fair share of no/low budget films that weren’t very professional. Before, I was just so eager to have a chance to act so I took whatever roles came my way. Now I am choosing quality over quantity. I suppose that means you won’t see much of me in the future! ?”

Which do you enjoy doing the most – the glamorous, semi-naked modelling or acting under prosthetics?
“I love modeling, especially when I become a more glamorous character by means of hair, makeup and costume. It’s also great to be transformed by prosthetics to become something wicked or weird, but I don’t miss the adhesives or stinging on my skin!”

How did you land the role of Pig Bitch in Albino Farm? Were you eager to play a monster or were you hoping to be the heroine?
“The directors of the film were having trouble casting the role. Most aspiring actresses were not interested in being hideously deformed under five pounds of prosthetic makeup. It was also a very physically demanding role with action sequences, fight scenes and partial nudity. I suppose I was just weird enough to want to try out something like that! Honestly, I wanted the role of the monster and I will probably always choose a villain role over a victim. It is great playing the bad guy! Not only is the role more fun but the character is more dynamic as well. It’s great to be able to scream, freak out and exorcise your demons.”

How difficult is it working on a movie with two directors? Would this cause more problems that usual?
“It was a learning experience for everyone. Honestly, I don’t think that having two people direct a movie worked very well- too many cooks in the kitchen, as they say…”

Due to digital being cheaper to shoot with, it seems easier than ever now to make a film. Do you find that the market has become flooded with no-budget, amateur films that lack any real style or good ideas?
“Yes, but it also means there is a rare gem of a fantastic film out there floating around waiting to be discovered. I think now more than ever you really have to make something that stands apart, especially concerning the story. From what I have heard, it’s more difficult than ever to get a horror picture (or any for that matter) picked up for distribution due to a flooded market. Then there is the fact that people will illegally download your film and you’ll never see a dime!”

Another upcoming release is In a Spiral State. What part does your character play in the story and how would you compare this to your previous work?
“I play Marlena, a drug addicted model who turns to illegally selling stolen organs on the black market for money. I enjoyed the character because I had the chance to adlib lines in a scene, which can be very freeing and fun.”

Have you ever considered acting on stage? Are there any productions or roles in particular that intrigue you?
“Yes, it has always been a dream of mine, but at the moment I don’t think I have the proper training. I need to continue to build my confidence as a performer. I’m still really shy, so the thought of getting on stage in front of so many people and speaking is pretty scary! As a little girl, I wanted to play the role of Sally Bowles from Cabaret. Just watching Liza Minnelli in that role was magic for me! P.S. – Next semester I am taking theatre classes so I can get over being such a shy freak.”

You have also appeared in several short films, most recently with your partner, Jason. Do you enjoy making these and would you recommend this approach to other young actresses?
“I highly respect Jason as a film maker- he definitely knows what he is doing. He has an amazing eye for detail and cinematography that is hard to find these days. Not only is he a fan of horror films, but he has a style distinctly his own. I love working with him because I know that whatever he does, it will be shot beautifully and professionally. He’s extremely focused- when we shoot together, it is all business! As for recommending things for young actresses, I think it all depends on what you want to accomplish in your career.”

What would be your dream role? If a filmmaker approached you about making a movie and you were allowed to develop the story and character, who would you be?
“I love the 1920s, so it would be a dream to play a glamorous young woman of that era and be in accurate historical costume. On the other hand, I’ve always wanted to be an ass-kicking heroine that takes out the bad guys. I’m actually in negotiations for that type of role, so let’s hope it works out. I’ll have a lot of training to do because there will be a lot of action and fight scenes! Stay tuned…”

Share on Facebook

Tweet This Post

• TRAILER TRASH – The Mutilator
• A Decade of Horror – 2002
• INTERVIEW – SAM GILBEY talks Illustrations
• NEWS – Possible Director for Dracula Movie The Last Voyage Of The Demeter

How did you first meet Sam Raimi, Bruce Campbell and Robert Tapers and how did you come to be involved in Within the Woods and The Evil Dead?
ELLEN: “I went to high school with Bruce and Sam and we were in school plays together. I was also in a few of their early super-8 films. While I was in college they asked me to be in Within the Woods, which was when I first met Rob, followed by the Evil Dead.”

How would you describe your experience working on The Evil Dead and with Sam Raimi?
BETSY: “Sam was a great guy to work with… same age as all of us… just crazier. Evil Dead became an epic cult classic, but we sure didn’t think it would be when we were slushing about in the mud, the cold, the miserable conditions.”

Why did both yourself and Richard DeManincor use pseudonyms and do you regret not being credited with your real name?
THERESA: “Evil Dead was scheduled to be shot at a non union production. I had just become a member within that year. I was told by a rep at the Union and by people at Renaissance Pictures that the fact that I was a brand new union member wouldn’t be a problem and that it would all be worked out before we went to shoot. Well, nothing was “worked out”. So I did the movie changed my name thinking it would NEVER be seen…!!! I do regret that I used a different name. Alas, I ended up with a fine from SAG and a six month suspension.”

What were the first issues the film encountered due to its graphic nature? Do you find that this kind of notoriety only helps to increase a film’s popularity?
BETSY: “I’m not certain what the first issues were, but I can only imagine I can start to count on fingers on one hand (ummm… before it gets chopped off). Let’s see – violence, gore, sexual innuendo, blood. There, that’s five so far. As far as popularity, I think any project – book, TV, film – increases its notoriety and popularity when it reaches beyond the norm and goes to the very edge beyond the average limitations… in whatever direction it chooses to take, or be taken”

You were involved in the film’s most notorious sequence, the tree rape. Under what conditions were that filmed and what kind of reaction did you receive from viewers and friends for taking part in it?
ELLEN: “That scene initially was supposed to just be a “tree attack” scene – the rape part kind of evolved as we were shooting it. It was pretty grueling, shooting in the cold, in the middle of the night, getting scraped up by trees – not a whole lot of fun. People were quite shocked when they saw it, but not quite as shocked as I was.”

Despite the movie being extremely violent, would you say that this was done in a relatively inoffensive way and were you ever concerned that it cause problems with the censors?
THERESA: “I never thought for one moment about the censors, I was in my 20’s. And yes, it was too violent and graphic for me. However, I didn’t know that until I SAW it at the premier. None of us ever knew what direction the film would go in.”

How did it feel to star in a movie that the UK government had labelled as a ‘Video Nasty?’ Were you shocked by the how extreme the reaction was to the film?
BETSY: “I’m not shocked, but I wasn’t aware of all the rules and regulations that so many countries have in regard to free speech, film, TV, publications, etc. It has been an intriguing experience for me as the years unfold.”

Were you aware of the film’s treatment in the United Kingdom during the early 1980’s, when both the press, government and censors went on a crusade against violent movies, with The Evil Dead being the centre of the controversy?
ELLEN: “I knew nothing about this at all, until way later. After the initial premieres and release of the film in theatres in the early 80’s, I knew very little about what was going on with the film until the late ’90’s.”

Does it seem strange to you that the BBFC (British Board of Film Classification) would allow the film to pass through with forty-nine seconds worth of cuts in 1982, then soon afterwards try to prosecute it and many others for being obscene?
THERESA: “You know that BBFC, just like Henry the IIIV, off with their heads!!”

Do you have any regrets about your involvement in The Evil Dead and were you ever approached about appearing in the sequel, which many considered a semi-remake?
BETSY: “I have no regrets whatsoever! Though certainly not a fan of violence and horror, to me… it’s just a movie. As for the sequel… well, I was actually asked and courted to be a part of Evil Dead 2 by Sam, Bruce and Rob. However, my husband and I were expecting our first child, and somehow my protruding belly just wasn’t going to be hidden, nor could they find a reasonable plot twist in order for it to work. So, alas, I couldn’t be in the sequel. But we do have two great kids!!!”

The film would eventually be released on VHS in 1990, with its 84-minute running time trimmed down to 79-minute 47-seconds, and not uncut until 2001. Why do you think the film remained a cause of debate for so long and how did this notoriety affect its success and your career?
ELLEN: “I think the film remained a cause for debate because it was so over the top and unrelenting in its violence. Of course like any other notoriety, it only served to make the film more popular. In terms of my career, it did put me on the cult-film map, even though it was as the “tree-rape chick”. In this business, you take what you can get!”

When was the last time you watched The Evil Dead? Does it feel tame in comparison to what some filmmakers are willing to show now and, looking back over the controversy it caused in the UK, do you find the way that the censors and media reacted was ridiculous?
THERESA: “I do not watch horror films, they are not entertaining to me. I don’t enjoy being scared and that is the feeling I have when I watch them. So, I don’t watch! But Evil Dead still scares me, not so bad anymore, I just saw it about three months ago. I’m not big on censorship period. I think people should watch what they want to watch. But the rape scene is difficult and objectifies women. Not something I enjoy…again, I just don’t watch!”

Share on Facebook

Tweet This Post

• NEWS – Kevin Smith Shocked Over Red State Backlash
• GALLERY – The Revenge of the Living Dead
• NEWS – Predator 2 Screening in LA This April
• NEWS – First Proper Look at Predators Footage and Poster

At what point do you feel the Italian film industry was allowed the freedom to make more daring and graphic movies, and how come there was such a horror boom during the 1960s and 70s?
“The Italian film industry developed during the 50s and became prosperous and rich, producing more than one thousand movies a year of all kind, including fantasy, sci-fi, and later on horror. Producers were independent (and not at all totally linked with the TV market and money as it is now), and so totally responsible of what they were producing. Furthermore in the late sixties and in the seventies the hard grip of censorship (strongly related to the power of the Catholic church in Italian politics) started to loosen.”

Why did Italian filmmakers become so obsessed with producing mondo, cannibal and zombie movies and how come the late 70s saw the country produce a series of extremely controversial features?
“In my opinion “routinier” Italian filmmakers were always obsessed just by one thing and I mean money. And they were always following fashion and trying to imitate foreign movies. If, after Ben Hur, Maciste and Steve Reeves were the thing you would have a hundred movies with bodybuilders in Ancient Rome peplums whilst if cowboys sounded like making money…hop…in the saddle! It wasn’t any different as for zombies and cannibals. It was a wave and they rode it.”

Having appeared in both zombie and cannibal films, which is the most intriguing to you and what was it that would constantly draw you to such dark material?
“As for directors, actors are VERY drawn by money and so was I. It’s strange how journalists often seem to think that actors choose what they are doing, when, as a matter of fact, only big stars can afford to do it. I was called for a thriller (House At The Edge Of The Park) and then for zombies and cannibals. If they had called me for Nineteen Century romantic stories I would have starred in that. I was young, no star, and in bad need of money because of the great amount of theatre I was doing (one of the less moneymaking activities in the world). This said I always prefer fantasy to fake reality (which is often the realm of cannibal movies). Zombies and monsters and poltergeists are the modern version of fairy tales, which are at times very scary if you read them in the original Grimm books and not in the Disney sweetened version. And I am a great fan of fairy tales. They help putting children fears in the open and out of them and I think it works for the grownups too.”

Amongst the list of so-called ‘Video Nasties’ that were labelled as obscene and subsequently banned in the United Kingdom during the 1980s, over twenty of them were of Italian origin. Why do you think the censors reacted the way they did and do you believe that some of these movies may have gone too far?
“I don’t believe in a “banning” censorship, because I think that an adult should be free of watching what he likes if minors and animals are not involved. And such involvements should be censored at the origin, not allowing the movies to be shot. On the other hand I do believe in age censorship, because extremely violent movies shouldn’t be viewed by children, which is unfortunately preposterous since video tapes and DVD appeared. I am not a horror fan and didn’t see any horror or cannibal movies apart from the ones I were in. Cannibal Ferox was surely going too far. As for the others I wouldn’t say so.”

You have expressed your disgust at your involvement in Cannibal Ferox. Were you already aware of Umberto Lenzi’s reputation and do you feel that the movie had any redeeming qualities?
“No, I wasn’t aware of him in any way and still, after thirty years I can’t find a single ounce of good in that movie. Bullshit from the beginning to the end, including my bombastic and over the top performance.”

Having already collaborated with Ruggero Deodato on La casa sperduta nel parco (The House on the Edge of the Park), how did you come to be involved in Un delitto poco comune (Phantom of Death) and how would you compare these two experiences?
“He called me and I said yes. In Phantom Of Death I has a very little role, so it was totally different from House, but I was very happy to work with Michael York, which was positively an electric emotion. The most exiting actor I worked with. Almost as being on stage.”

Another frequent collaborator was Michele Soavi, who would direct you in Deliria (Stage Fright), La chiesa (The Church) and La setta (The Sect), yet you had both appeared in Lucio Fulci’s Paura nella città dei morti viventi (City of the Living Dead) in 1980. Did you become close friends during this time or would you be cast in Deliria through the usual channels?
“We became best pals whilst working on City Of The Living Dead. We saw each other continually, we had projects, we went on holiday together…when he was ready for his first movie it was obvious that I was going to be in it.”

As the 1980s came to a close, the Italian horror industry seemed to lose popularity around the world, particularly after the death of Fulci and the decline of Dario Argento’s career. Why do you think international audiences lost interest in giallo and cannibal movies and do you think there will ever be a new generation of filmmakers that will enjoy similar success?
“I am not so sure that the Italian horror industry stopped because of lack of popularity. It’s more the fact that the private TV networks changed everything. From the mid-eighties on everything was produced with their money and independent producers disappeared. And TV networks (at least in Italy) produce things that are apt for a family audience. Horror, extreme gore and zombies aren’t in the line. There surely is a new generation of horror directors, such as Domiziano De Cristopharo, who directed me in his House Of Flesh Mannequins, but I don’t know if they will be as successful as the Fulci generation and I am pretty sure that, trying to achieve success, they should move abroad or at least find the necessary funds out of Italy.”

Are there any filmmakers that you wished you could have worked with during the 1980s and which of the directors working in the industry today do you find the most interesting?
“Millions of them. Can’t name them all. Carpenter, Bertolucci, Tarantino, Coppola…. But they are alive. I can always hope.”

Out of all the movies that you have worked on over the last thirty years, which are you most pleased with and which do you regret making? Are you proud of what you have achieved in your career and how would you compare the Italian film industry of today to the one that you first started in?
“As for the horror movies the one I prefer is Cannibal Apocalypse and the one I surely regret making is Cannibal Ferox. Proud is a bit too much for my vocabulary, but I do not complain. As for the film industry, as I said before, it doesn’t exist anymore. It’s just an extension of the TV market, producing TV-movies about happy families or sad imitations of the American medical series and some twenty movies a year compared to the thousand and more of the golden years. No comparison is possible.”

Share on Facebook

Tweet This Post

• NEWS – Pretty Dead Things DVD Now Available
• BIOGRAPHY – John Carpenter
• VIDEO NASTIES – The Toolbox Murders
• NEWS – Trailer for Romero’s Survival of the Dead

What kind of movies did you enjoy when you were growing up and how did this develop into an interest in acting? Were you ever a fan of horror films and which in particular made the greatest impression on you?
“Growing up I watched a lot of classics with my mom. Everything with Judy Garland, Mickey Rooney, Fred Astaire, All the old musicals, Shirley Temple… you name it. As I got older I started really get into movies that captivated my attention with their acting and performances. I guess I never really clung to one genre specifically for a long period of time, I really just enjoyed the art of cinema always.”

How did first enter the movie industry and which project would you consider to have been your first big break? Have you found that work has come easy to you or has it been a struggle?
“I first came to LA in 2001, at that time of my life I had to make a choice of what I really wanted, go to NYC and do THAT whole thing, or take the leap for LA, and get my Oscar. Upon arriving, things just seemed to fall into place. I found a manager, an agency, and was auditioning within the first 3 weeks. The life here in L.A., if this is what you choose, is always a struggle. You may book something one day and think “THIS IS IT! MY BIG BREAK!” but, then a month later, the project just seems obsolete in the process of “making it happen.” You always feel like you move forward, and as you do, fall 2 steps behind. The first project that felt like that, I would say, is The Cinderella Story. It was my very first studio production, and I was going to be working with Hilary Duff, and on a real movie. The struggles come after you shoot the movie, and have to find your next job. Some months are great, and some go by and totally miss you. The important thing is to just keep going full force, and keep your eye on the prize.”

How did Return of the Living Dead come about? Were you looking for a horror project and what was it about the character of Becky and the scripts for Necropolis and Rave to the Grave that appealed to you?
“I booked the character of Becky after coming off a shoot hosting a kids television show. While shooting, I had to ride a 50cc motocross bike during a Supercross race for the shot. I had never ridden before, and on one of the many takes I broke my pelvis and hip in 3 places. Needless to say, I wasn’t suppose to walk for a really long time. I think it was 5 days later when my agent called me to tell me he was going to pass on the audition he had just got for ROTLD due to my condition. I just about DIED! I pleaded and promised him not ONLY was I GOING to go, that I would book it. At that time, I was BIG into zombies, and punk rock, and would watch ROTLD every night to fall asleep. It was meant for me to be in this movie. I knew it. So, I practiced walking everyday till the audition, it wasn’t going well, and it hurt. The day of the audition, with my crutches and best friend in tow, I hobbled slowly to the casting. I took A LOT of pain medicine that day, and although every ounce of my body could still feel the pain I was being drawn by a force greater than me to go through with it. Once at the door, I hid my crutches and carefully walked in with my Texas Chainsaw Massacre lunch box, filled with gory, and zombie, pictures of myself that my friends and I experimented with. I wanted them to see, that not only should I get the part, but that I was an ACTIVE fan in the horror community. They asked why I was walking funny, and I joked It was my zombie walk. 1 month later I was flying first class on a plane to Romania, for 5 months to shoot 2 movies back to back. It was unreal.

Becky’s character appealed to me, because she was a fun-intense, light-hearted girl. She had a heart. Despite being clumsy, and naive.”

The cast and crew were made up of both veterans (William Butler, Peter Coyote) and newcomers (John Keefe, Jana Kramer), was there anyone in particular you were looking forward to working with and who did you bond with most on set?
“I was of course excited to work with Peter Coyote. His résumé is extensive and I really love to learn from actor’s who have fought the fight and are still working. I respect them. That , and I heard he use to be a huge hippie, and I thought that was awesome, I was curious to hear stories. I think all of us actors bonded together a lot. We were basically the only Americans in this new land and really had to look out for each other. It’s not like we were on some high budget Hollywood movie set. We were in a very poor country, with no experience of the culture or language, not knowing the environment. It got scary sometimes, but after 5 months it felt like home. We all really felt like a family. I still talk to some of the actors all the time.”

How come the filmmakers decided to shoot in Ukraine and Romania and was this an enjoyable experience? How would you compare this to shooting a film in America?
“I’m guessing that it is cheaper to film in Romania? Personally, I think where we were shooting, gave a whole creepy feel to the film. The structures in that country are incredible. I’d shoot there again and again. Maybe for not so long next time. I don’t think there is one single way to compare it to filming in America. There are hundreds of differences. Shooting there feels so guerrilla like, so surreal.”

Was it exciting to fire guns and taken on such an action role and did you perform any of the stunts yourself?
“This was my first time ever holding a gun. I don’t like guns, I don’t even like fake guns, so I’m not going to lie, I was nervous. After firing a few rounds I got the hang of it and loved it. I felt Badass. The flamethrower was the best! Although, I heard this story that no one was checking the weapons for safety, perhaps just a rumor, but a stunt guy on the film being shot near us got his nose blown off practically using the same flamethrower. It backfired. Lucky I learned of the tale, AFTER I shot the flamethrower scenes. I would have been too scared to attempt it if I had heard that story before. The stunt I hated the most of course, was running. Which we did a lot. I dreaded it, because as it was, I could barely walk and had to put on the façade I could. You can see in some of the scenes where I run, I look totally funny doing it.”

Were there any particular issues or problems that occurred with yourself or anyone else during filming and how did these affect the shoot?
“One major problem that occurred, and was the reason for us staying for extra weeks at the end, was Jana Kramer getting sick, then going home, and having to recast her for the second film. The second film which we already shot some of (we did both movies OUT of sequence). So they had to recast Jana with Jenny Mollen for number 5, and rewrite the script basically in a lot of places. During that time, we changed Ads and Dps. Tom Callaway came in and pretty much saved all our asses toward the end. He was a real hero, especially to us actors. Getting in there and helping direct us. He will forever be awesome in my eyes.”

The characters from Rave to the Grave do not seem to mention the incident from the previous film, even when zombies begin to appear. Was this not intended as a direct sequel to Necropolis, and why do you think none of the characters had learnt anything from the last movie?
“As you can see, halfway through we had a huge problem. With the recasting, and changing. We began shooting 2 movies together, completely out of sequence. They were rewriting on the spot, to save money, and time and salvage all the footage we did get. It’s an unfortunate event that I think if it didn’t happen perhaps the movies would make a bit more sense. Everyone worked their butts off though to make a final product. No one can fully prepare for problems of that size to arise, and everyone did what they could. I give them all a lot of credit. Down to the editors, because we worked with the cards we were all dealt, and we got it done.”

Becky was very pro-active and strong in Necropolis, yet she seemed extremely underused in Rave to the Grave, with her death seemingly uneventful. Do you feel that she deserved better treatment in the last film and were you disappointed that you were no longer the hero?
“Of course I think she deserved better treatment! LOL even if it was fun to change into a zombie and die, it bothered me that she was a completely different human being in RAVE. I questioned it, but in the end I show up to work and to do my job. I had no control over what was attempted to be fixed in the storyline.”

Was it enjoyable wearing the prosthetics for when you became a zombie and is it more fun to play a hero or a monster?
“I LOVED wearing the prosthetics. I had so much fun. The makeup and FX guys were incredible. John Vulich, and Greg Funk, were so awesome to watch. I learned a lot that summer with those guys. It enhanced my latent passion for creating monsters and bloody messes. Being a zombie is the funnest , it’s the whole appeal of being IN a zombie movie. Add that I have the chance to be the hero AND a zombie, hell, I have the best of both worlds.”

Was there much gore cut out of either movie or did the filmmakers wish for them both to be more suggestive than graphic?
“I know there was a some gore scenes that had to be cut out, not sure how many. It was a few years back now. It was everyone’s intention to have as much of it remain IN the movie, that I do know. What is the point of making a gore, zombie flick, if there isn’t GORE!??!

How have you managed to balance both your acting and music careers, as Necropolis and Rave to the Grave must have been a major commitment? How much of your life was taken by the preparing and shooting of those two movies and would you be willing to shoot two films back-to-back again?
“Shooting both movies back to back till take it’s toll back in LA. I missed my premiere of A Cinderella Story, missed out on auditions, my band fell apart, and didn’t get back till mid September. When I did I had to start from square one again with my career. When you are on a roll with booking things it’s hard to jump out of the radar, then come back in and have people really remember what your last project was. You have to be constantly IN the game. So yes, I felt like I missed out a lot shooting them both, but I never would take back that experience. I learned so much there. Would I do two movies back to back again? Of course, and at least now I would know how to tackle it.”

Both Necropolis and Rave to the Grave were first aired on the Sci-Fi Channel in the US and were expected to receive a theatrical release in other countries, yet they went straight-to-DVD. What kind of release were you expecting the films to have prior to their completion and were you disappointed that they were not seen in cinemas?
“I was hoping for a major release, we all were. But, that’s the business, you just roll with the punches.”

What kind of feedback have you received from fans of the series and would you say your Return of the Living Dead experience has been a positive one? Have you attended many conventions since the films’ release and what kind of impact have they had on your career?
“I’ve gotten great feedback from fans. Fans that understand as an actor, you work with the material you are given. You work with the situation you are handed best you can. In the end that is all you can do. I think every aspect of the whole process of ROTLD was a truly positive one for me. I had the experience of a lifetime I wouldn’t change for anything in the world. After filming, I attended a few conventions, one being Fangoria. I always have a blast with the horror scene. Made so many great friends, and talented people.”

It seems that the franchise has once again come to a standstill, with rumours of an inevitable sequel/remake possibly on the horizon. If you were ever offered the chance to return to the series would you accept and what do you wish you had done differently with regards to the last two films?
“If I was offered a chance to do the series again, I would want a director that knows and is passionate about the genre the franchise, and I would want the budget to be a bit bigger. I was bummed when fans of the franchise felt like they got jipped of a sequel. I would want to be a part of THE BEST sequel to ROTLD that was ever made. I just don’t think it’s happened yet, but I think it could. At the end of the day, zombie movies are suppose to be fun. We had fun, creating the films and I’m sure in the future the superfans will watch these movies with a lighter heart, and find the humor in them as well.

You can find me next on the premiere of the new ABC pilot, The Forgotten starring the very amazing, and talented Christian Slater. It airs September 22 2009 at 10pm.”

Find out more about Aimee Lynn Chadwick:
Official Site
MySpace
Facebook Group
IMDb
The Charles Shaw Project MySpace
Chasing Aimee MySpace
Return of the Living Dead 4 & 5 Site
The Forgotten Official Site

Share on Facebook

Tweet This Post

• TRAILER TRASH – The Hidden
• NEWS – Kevin Williamson Reveals Details on Scream 4
• NEWS – Simon Pegg Finds Clip from US Spaced Remake
• NEWS – A Nightmare on Elm Street Goes Through Re-shoots