Thursday, 31 March 2016

INTERVIEW with filmmaker Birthday Gurl

What does your film express about today's generation? 
Nigga Booty Nights is about how  stereotype is more important than race and how the unborn stereotype is getting recognized for modern day slavery.

What social circumstances lead you to make your new film?

When I first saw the propaganda film behind the American holocaust I thought my life was over so I thought why not challenge my belief systems by making a film in the after math of this depression.

What do you think about the PINK8 Manifesto & Punk Cinema?

I think its the perfect movement for unhealthy films, junk film, anti art art film and revolutionary for guerrilla DIY film makers all around the world.

Whats next for you?
I’m going to focus on my completing my screenplays  and work on my music.

INTERVIEW with Filmmaker Laurenz Mösbauer

What does your film express about todays generation?

the main character is - as some individuals of today´s generation; i ve heard - on a quest to find out how the hell he ended up awakening down on this awkward planet labeled earth. So he mounts his steed and tries to understand, observing the weirdness around him, trying to find his purpose.

Since there is no answer….

Make bubbles, not war!

Be Bubble Boy!

What social circumstances lead you to make your new film?

not sure what´s meant by social circumstances…. anyways…

i just like the idea of: fuck it, lets do this


the song was there first; came like a vision, then came the visualization.



And his obsession to wrap things neatly in vast layers of bubble foil…

What do you think about the PINK8 Manifesto & Punk Cinema


i do like shorts…
scripts do help sometimes…


free minds, no boundaries, fuck conventions, we do agree!

Whats next for you?

Since this

is our musical and visual utopia, my focus now is on new music.

And there is gonna be new music released later this year! (Let s say fall. yes, fall should work!)

( feel invited here to the songs so far:

it s free, too

Monday, 28 March 2016

INTERVIEW with filmmaker Dylan Greenberg

What does your film express about today's generation?
That the inner workings of people I feel have become far more complex and self aware which causes a clash between generations perhaps causing a rift in time that transposes the Millenial Mind (TM) to the Past Mind which truly I feel is what the Jazz is all about. 

What social circumstances lead you to make your new film?
I don't really know but I guess the ones that were there are the ones that influenced me. I think maybe it was the pictures on my wall.
What do you think about the PINK8 Manifesto & Punk Cinema?
I think it's almost as exciting as "punk bass".
Whats next for you?
I just directed the new Amityville horror movie, and next I'm making the new ReAnimator movie. After that I want to do something more psychedelic although I think I'm gonna make the ReAnimator movie as psychedelic as I can. 
Thank you!

Thursday, 24 March 2016

INTERVIEW with filmmaker Riccardo Cavani

What does your film express about todays generation? In order to answer, we must, first of all, ask 
 “What exactly is todays generation?” and that’s a really hard question. 

 What social circumstances lead you to make your new film? I don't make films, films make me. 

What do you think about the PINK8 Manifesto & Punk Cinema? I’d like to quote Jacques Derrida: “Between lying and acting, acting in politics, manifesting one’s own freedom through action, transforming facts, anticipating the future, there is something like an essential affinity: The lie is the future.” 

Whats next for you? Top secret.

See more at :


Wednesday, 23 March 2016

INTERVIEW with filmmakers Nick Toti & Matt Latham

What does your film express about todays generation?

I assume that I'm too old to be considered part of today's (or any) generation. If this movie says something about it, and that something came from me, it was either an act of divine Grace, a manifestation of collective, unconscious will, or a mistake. 

On the level of plot, there is an anxiety caused by the relationship between one's personal history and current circumstances. This, in the movie, connects to themes of transcendence (or attempted transcendence) and a literal Second Coming of Christ in the form of a pseudo-Buddhist-avant-garde-theatre-performer and her supernaturally omnipresent cult of followers/collaborators. In reality, this could be seen as a metaphor for something like Twitter or ISIS.

What social circumstances lead you to make your new film?

Matt Latham, my co-writer and the movie's director/editor/cinematographer, put together a group of actors with no knowledge of what the movie was going to be. All anyone knew was that it would involves the phrases "you are your body" and "you are not your body." Not long after this, Matt asked me to join the group as producer and co-writer. At the time I was going through a divorce and eager for anything that could distract me from it, so I dove right in.

This group had a shared facebook page where we shared ideas, pictures, videos, songs, etc. From this stream of media certain images and themes started emerging. We took this material and started developing characters with the actors. Eventually Matt and I locked ourselves up for a few days and came out with an outline for the movie. The script itself was written as we went along and revised constantly as we rehearsed and shot.

What do you think about the PINK8 Manifesto & Punk Cinema?

I don't really know anything about the PINK8 Manifesto. I just read it for the first time. I like lists of rules, but I tend to make them up for myself so I probably would never adopt someone else's.

My friend Zachary Oberzan makes movies that seem to fit these rules and I think he's the best filmmaker around.

If "punk cinema" means "movies where people vomit on camera," then I'm as punk as it gets.

Whats next for you?

Matt and I just finished a documentary I directed about punk bands and megachurches called The Complete History of Seattle. After that, I'm re-editing DW Griffith's Intolerance to include scenes of hardcore pornography and starting work on a ten-part documentary based on the Ten Commandments.

Matt is currently in Norway finding locations for our next narrative feature, a horror movie titled The Blood The Blood The Blood The Blood The Blood.

All our movies can be found at as well as our blog which I update weekly with things very few people care about. It's the best thing on the internet.

INTERVIEW with filmmaker Yiorgos Bakalis

What does your film express about today's generation?
An underground artist and a DIY production is a mix of a generation in crisis ,here in in Greece . We chose to shoot in the centre of Athens and we see all the atmosphere of a society in crisis

What social circumstances lead you to make your new film?
The social crisis is always in my films .  Always against racism, fascism, sexism  and social injustice.

What do you think about the PINK8 Manifesto & Punk Cinema?
I believe that the community of people is what we need...  filmmakers who be together and express not only themselves but a community...

Whats next for you?
I write a script for a feature film and i am in a pre-production for a DIY film dance .

INTERVIEW with filmmaker Kelly Hughes

What does your film express about today’s generation?
My movie predicted today’s generation.
I wrote and directed the uncut version of La Cage aux Zombies in 1993. Before drag went mainstream. Before zombies made a comeback.
Back then it would have been impossible to imagine shows such as RuPaul’s Drag Race and The Walking Dead. Even harder to imagine them being mainstream hits.
Today’s generation thinks they are subversive. But in reality, they like cute and shiny fake kink and safe thrills. My movie challenges this generation by keeping drag queens and zombies in the gutter. Forcing the viewer to bathe in filth when they watch my movie.
What social circumstances lead you to make your new film?
In my recent Director’s Cut, I mercilessly hacked away at my precious footage to accommodate today’s short attention span ADHD consciousness. But knowing young people will be watching my movie on an iPhone makes me want to weep.
What do you think about the PINK8 Manifesto & Punk Cinema?
My favorite part of the PINK8 Manifesto is:
Look for street superstars to be your cast.
It’s a treat to work with a trained actor. They’re usually good at remembering lines. But there’s a certain thrill in working with amateurs. Especially if they have a unique look. And no inhibitions.
I’ll work with just about anybody once. And if they submit to my direction without question, I’ll probably work with them again. There’s a certain magic when a seven foot tall drag queen goes through the metal detector at an airport for you without hesitation. So if some stranger off the street is willing to get arrested by working in my movie, then yes, he will be cast.
As for punk cinema…
I still embrace a Do-It-Yourself aesthetic. No use waiting around for budget or permission.
But to me, the heart of punk cinema is all about the primal scream. Finding that pure loud expression. A sound, an image or a cumulative effect that pierces the viewer. And that usually doesn’t happen by committee.
Answer to one person only—yourself.
Whats next for you?
Two web series.
SPANKY GOES TO HELL: A Queer Horror Punk-A-Doodle
A reality show about the former drummer of horror-punk band The Dead Vampires. Following him as he resurrects his zine and sells off his horror memorabilia on eBay while embracing veganism and animal rights with his husband and three dogs.
The Mephisto Box
A supernatural thriller about sex, drugs and Satan.
They’re both in the can. I just need to move my ass and edit them.

INTERVIEW with filmmaker Andrei Stefanescu

 What does your film express about todays generation?
My movies talk about our amazing direction towards non duality. Towards a very sincere spirituality without too much preciousness. A generation of amazing understanding and tolerance.
What social circumstances lead you to make your new film?
I made Beings in a totally new society from my own. With people that were all in an open underground lifestyle. I ran away from my social life to make my films. Ive always looked for outsiders for my projects. Mostly because my films deal with exploring outside unknown things.
What do you think about the PINK8 Manifesto & Punk Cinema?
All punk art movements have been such great forces forward, so I love that you've made it as a manifesto with great power and trottle :)
It will create great great vibes and who knows what will come out of it.  Thats what I love about punk. Its purely open to all things that come its way. All repercussions and reactions.
Whats next for you?
Next for me is an art-porn project. A collection of videos that are rooted in existential use of sexuality and body as metaphor. Our bodies are  sort of medium, as cinema is, they transform either matter either perceptions or consciousness in such an amazing complex way that i flet compelled to use it as a main theme and subject.
See more at

Tuesday, 22 March 2016

INTERVIEW with filmmaker Lucas Popowitz

What does your film express about today's generation?
Our lack of concern for our own sexual well being. So many people have sex without abandonment, that they forget about the consequences that can come with promiscuity. That and let's laugh at Douche bags.
What social circumstances lead you to make your film?
I had been a bit adventurous with the amount of sexual partners I had in my life. I was on a self destructive path that only seemed to have happiness along it's way when I was inside another woman. I had grown up with a little sister who was HIV positive and had always had knowledge of the disease around me. When I finally stopped being an idiot with my penis, I got tested, and lucky came up clean. But I always had thoughts in the back of my mind, "What if?" I took that what if and created a story with characters that I didn't want the audience to particularly like, but still felt sorry for them. 
What do you think about the PINK8 Manifesto & Punk Cinema
I've always described my style as Punk/Guerrilla. I don't like to follow traditional story structure rules, and always wanted to make films on my own terms. The Pink8 Manifesto sounds like the first ever punk documentary, which is so super fucking rad!
What's next for you?
I just launched my own production house with the star of my feature. It's called Feels Like Fiction and our website is where we post articles we've wrote about pop culture and storytelling. As well as videos we've made ourselves and our "For Hire" skill set of writing, shooting, and editing. We have a few feature length scripts that I have completed writing that we are currently trying to narrow down a single one for our next production.

INTERVIEW with filmmaker Kurtz Frausun

What does your film express about todays generation?

That no matter how much time passes in the human experience, we are all still searching and needing love, to be inspired. 

What social circumstances lead you to make your new film?

My girlfriend, a woman I considered my Muse, had a nervous breakdown and kept trying to kill herself. Eventually we had her committed for her own well being and after she came out, she was worse. The relationship officially ended and I wanted to capture all the mad emotion tied into romance and art. Took me a few weeks to shoot, 2 months to edit. I slept 3 hours a night and started hallucinating. So when I would record what I saw, and there was nothing there, I decided to create in post production what I had witnessed. Ended up winning an award at the London Film Awards

What do you think about the PINK8 Manifesto & Punk Cinema?

It's the core of what inspired me to first pick up a camera and use it as a weapon. 

Whats next for you?

I'm creating a sci-fi pilot. Just finished the first half. One of my docs was picked up for distribution so I'm working on promotions for that and I'm wrapping up another experimental film called "Blood of Jupiter," which explores my own battle with depression.

INTERVIEW with filmmaker Karolina Escarlatina

Our videos express a lot of today's generation, since we do everything by ourselves, we film, we edit, we compose the song, we record the fucking song, and produce it, mix it, and master it, all alone, at home, by ourselves. We don't have expensive video cameras, but we know how to use it in our way, we have been watching the 'monsters' of cinema and we are very inspired by them, specially by Godard: the 'no script' thing, the do it yourself, the jump cut, his 'punk' way of being...well, we got all that in our heads and now we do our videos mixing what we learnt in the films we watched with our own ideas and liberty. The today's generation thing is "you have the camera, you have youtube, so, do it, don't wait for anyone to do it for you, cause there's no one at all"; well, we are doing that...trying to get rid of the Hollywood monopoly and alienation.

The circumstances are: well, we have a huge need to express ourselves, and we definitely don't want to do a normal video, we want to go beyond, we want more than those boring videos; we have a lot of ideas, and we have the camera... And that's linked with what we said above, now we have the opportunity, the means of production, like cheap cameras, editing programs, and very good places in the internet to show our work: that's something that was unthinkable for us some decades ago, when we were young. And we have another factor that determinate that way of doing: we live in a small farm, apart from civilization. The closest town is a small village, with no studios and no one really involved with production... That puts us in a different condition: we don't have easy access to studios and producers, and other mainstream big means of production.. and we're here really because we want to get rid of that. So diy underground videos are all we can and want to do.

"PINK8 Manisfesto & Punk Cinema" is really great, it's an awesome initiative and it's exactly how we think, I mean, the philosophy of it, is exactly what we think. So, long live for them, and we'll make what we can to help to spread this!

The next step is to film another video. We just released our new album, called Drusba; there's a song on it called Bodies that Devour, and we will do another crazy piece. We already have some ideas, but we don't like to do scripts. We have the inspiration at the very moment of the shootings. We like to work that way. Every time we plan too much the result is totally different of what we had in mind.

INTERVIEW with filmmaker Viking Almquist

No budget. No mercy. The Swedish film world is hypocritical. Directors complain about how mostly middle class people work in films and then cast members of Sweden's ancient nobility in the lead. My generation is tired of films by tourists that exploit our pain to gain good reviews, awards and a carer. The cultural elite hates horror, gore & genre. So that what I did. I mixed all the things I loved from my upbringing; magic, anime, b-horror etc.

I was studying film theory at the University of Stockholm. I got to see a lot of good films, but there was this air of many of the theories where just pretense and lacked substance. But it also allowed me a lot of free time which I put to use to make the film. Having no money, I made use of friends and friends of friends to get a hold of all the things I needed for the film, like Nazi uniforms, costumes. 

I think the PINK8-manifesto pretty much describes the process of how Evil Easter 3 was made. I had characters from my surroundings and had no freaking idea what the film was about (there was no script). I used my DV to film and had my flat triple for the interiors. 

There are a lot of more stuff coming up. Currently I am prepping a short about hipsters and telepathic mushrooms from space. Also I am in the early stages of a slasher film called Elf Sacrifice & a black comedy about a graduation.

INTERVIEW with filmmaker Jean Bernard

What does your film express about todays generation?
What I hope that it expresses is that we're here, and we have some interesting ground level stories to share with the world, and we're not going to wait for anyone to tell them for us.

What circumstances lead you to make your new film?
Desperation. Time moves forward. Friends get married, have kids, find their paths, etc. That hasn't happened for some of us so we're still finding our way - we hoped this film would guide us a little!

What do you think about the PINK8 Manifesto & Punk Cinema?
It's nice to see people banding together and creating alternative ways to express themselves as well as hubs to communicate with one another. Some people believe that ten to twenty person companies are our future - it's good to see some people getting a head start.

Whats next for you?
Finishing up a short fan film entitled Galveston, based on the novel of the same name by Nic Pizzolato, and working on a Sitcom entitled Battle Jar, in which we're in our second season, and like all people in this business, I'm on the hunt!

Monday, 21 March 2016

INTERVIEW with filmmaker Ben Woodiwiss

Benny Loves Killing is a film about many things: it's about those who are lost, about how obsession with cinema bleeds into everything, dreams, desires, family, aspirations, and about the single-minded pursuit of a goal above all else. In many ways the film plays out like a Rorschach print, and each viewer brings their own meaning to everything. Previously we've been very clear about who the good and who the bad people are, but I think we're less sure of this now. Or it's more difficult to answer this confidently. I think we see both good and bad qualities inside ourselves, and this question of 'what kind of person are we?' is currently very difficult to answer. At least, it should be. In the Pre-Production of the film the Producer, Nick Jones, put an interesting question to me: what if you were judged for one day of your life, in isolation, outside of everything else you did? That was something that very much came to the fore in Benny Loves Killing. We only see Benny for the running time of the film, and yet we make a number of judgement calls about her. We make these judgement calls all the time, without knowing the whole story, and that's perhaps something we ought to think about more carefully. 

I was writing a number of films for other clients, all with male leads, and I asked one client what he thought of the idea of changing the lead in his script into a woman. I thought it could give everything a freshness that I was looking for. He came at me with a number of reductive reasons: she'd have to get pregnant at some stage, have problems with her boyfriend, etc. I didn't understand this. The idea that a woman in a story is controlled by her biology. As a result I decided to create a drama with a woman at the centre where she has as much freedom as a male character. Once the first step was made it was easy to start populating the entire world with women who break the norm of what female characters are allowed to do in cinema.
As well as that, we decided to rewrite the rules of cinematic grammar. If we were going to address gender and ask people to rethink their assumptions, then it seemed necessary to shoot and edit the film in a way that was also against the norm.

The manifesto is just what we need right now. Access to filmmaking has never been easier, but it would be a mistake to take this and to continue the same style that has been followed for the last 100 years. What we need now is an underground that puts freshness, spontaneity, and difference at the centre of what it does.
I've just released a new short film, Look at Me Now, which explores the themes and styles that I started pursuing in Benny Loves Killing, and I'm now writing more scripts for other clients and working on a sci-fi series called Enter Lacuna.

INTERVIEW with filmmaker Gordon Raphael

I was playing synthesizer in Mental Mannequin-a New Wave band during the punk scene in Seattle's golden history.
i've been writing songs for my entire life, 2000 so far - but nobody has taken me out for an expensive dinner to offer me the record deal I've always been dreaming about.  so I decided to incorporate snippets of about 12 different songs in the form of an ill conceived, plotless homemade film which I called "First Scratching's of Light"

After four decades of borrowing friends equipment, tweaking out with outer space sounds, self-indulgent chemical highs, and finally a couple of fairly successful rehabs – the trap door sprang open! (Bhudda and Jesus later told me that the trap door had been a semi-solid creation of my own mental state) 

I was led by the hand via a trail of rock 'n' roll music to New York, London, Liverpool, Berlin, San Francisco and Los Angeles.
The scenes for my film are simply visions taken from these musical free flying days-
arranged without chronological concern, edited crudely by myself – and then given a final layer of filmic gloss by Graeme Maguire. 

I want to thank Moses and Ben for inviting me to live and work in Berlin, Miss Machine for taking me on tour of England with them- and New York City, which for me. for a long time was the actual "city of dreams".