Friday, 27 December 2019

Marilyn Monroe: Masterpiece Movie Moments

Filmmaker Fabrizio Federico chooses an obscure magical movie moment.

For a cinema icon as big a Marilyn Monroe there's an enormous plethora of movie moments to choose from, but one of the most perfectly realised moments that strangely never gets any attention is this quick scene in a powder room between the three leading ladies of the movie How To Marry A Millionaire. This scene with Marilyn captures all of her personality perfectly in one fell swoop. Marilyn plays Pola who is blind as a bat, but refuses to wear her glasses because she fears men dont like girls who wear them.

Screen sirens Lauren Bacall, Betty Grable and Marilyn are talking shop about the rich guys that they are on a date with in the powder room, suddenly realising that they need to get back to their dates, after quickly checking themselves out in a tall elegant quadruple full-length mirror Lauren and Betty leave the room leaving Marilyn alone who takes her time put on some perfume and struts over for her turn to check herself out in front of the mirror. What we get is an Andy Warhol style matrix multiple-image feast of Marilyn as she poses and turns in a beautiful violet dress in front of the mirror, her beauty is spellbinding and she's without a doubt the star of this movie after watching her in this scene, her magic is palpable and it hits the viewer like Cupid's arrow. Realising that she looks great she removes her glasses and goes for the front door, only she misses it and walks straight into the wall instead!!
Classic Marilyn at her starsailing best, this scene is both comedy gold and breathtakingly beautiful.

Thursday, 12 December 2019


Interview With Filmmaker Krystyna Curtis

*How did you get into making music videos?
I’ve always photographed and filmed everything since I was 15, with these, working with other people and their music gave me a platform to make short films this way

*Do you have any strange stories from working on your last music vid?
Strange stories yeah - there are sections of the first video which required my muse to hold a bunch of questionably safe black toy goop in her mouth - it kept going wrong and my living room ended up covered in the stuff

*Any plans on making a feature film in the future?
The first video is a mashed together collection of clips from a short film I’m currently working on atm. I think found footage films have way more potential than some of the ones that are out atm

*I've noticed your into the occult thats always been one of my fav topics, which is your fav horror film?
I’m a bit of a horror fanatic - but very choosy when it comes to finding the good stuff. I’m aiming to make my own horror film someday, but you could say I’m heavily influenced by Kenneth Anger, David Lynch, Jodorowsky etc. I love some 60s/70s/80s horror/sci fi like Alien, Altered States etc as well as more recent stuff like Mandy & Hereditary
I prefer horror with a building sense of dread over most slasher stuff, my fave horror of all time is probably The Shining

*Where are you based and is there a cool local DIY filmmaker community?
I’m based in the Midlands, Wolverhampton- there are a few filmmakers and photographers/artists here and a local collective called Asylum Gallery/Studios. Yeah we’re a pretty tiny group here but I generally only have two friends working in the same field

Tuesday, 10 December 2019

Interview With Filmmaker Bronwen Trudi Brooks Morgan

*How did you get into making music videos?
I got into making films 7 years ago whilst at school and then continued it into college and university, I have always been very artistic with my outlets and academic skills are not my way, so it gave me so much joy to Express art in this way

*This video is very experimental, how long did it take you to edit?
This film took me around 3 weeks on and off to edit, I often find as a female Filmmaker people have a lot less trust in you in your decision so it's a lot more back and forth, also the general nature of the edit was complicated

*How did you come across the band?
I came across the band as my partner is the guitarist, however this gave me no advantage to getting the project in my opinion because I was not their first  choice

*Do you have a name for your style, I've never seen anything like it before?
In turns of my whole asthetical style, In my purely experimental work (see portfolio) i strive detail, but in uncommon places, I love working with mirrors, water and the elements  l, preferring raw and dilapidated scenery and locations, and I'm usually very solitary. With this music video, as my other love is producing, I wanted to bring my experimental persona into my organised mind of a producer, the bands main prerogative was for it to be out their, wild and funny, the complete opposite of what they might be perceived as, as a 'folk band' and I think thsu is achieved, the little spats of confetti, the colour and style, that was the randomness I wanted to bring

*Are you planning on making a feature film in the future?
And yes I would love to do a feature film, but I want to being experimental film and that raw artistry to the front end of the industry and less of a secret!

Sunday, 8 December 2019


This years film release Teddy Bears Live Forever takes its cues from Ian Curtis' vast catalogue of bleak but beautiful lyrics. Songs such as She's Lost Control, Atrocity Exhibition and The Eternal are some of the few that filmmaker Fabrizio Federico has named as the films inspiration, ''Ian's lyrics are like mini movies, they paint such simple doom laden pictures  that I found them ideal to form the main characters spiritual DNA, Ian is her divine guide.

The fact that Ian also believed in reincarnation also touched a nerve with the director,  ''before I made the movie I was hypnotised in a past regressive therapy session and I travelled far and wide back in time just like Ian sang about in Wilderness, during the session I found myself on a farm covered in blood surrounded by a dead family and all their slaughtered livestock, it was terrifying and that vision has haunted me ever since.''

April is a young faded ''It girl'' suffering in exile from multiple-personality disorder (brought on by a UFO Cult & Hollywood) and she decides that one of her six personalities must lose her virginity. 

As April suffers bizarre flashbacks in a solitary room, sleepwalking, telephoning rent boys, listening to The Carpenters and terrorising her old guardian with her untamed sex appeal. She ultimately set's out to become a modern saint.

''I made the film on intuition and a sensation to focus on some powerful messages (trauma, anti-establishment, false idolatry, existential angst and spirituality) wrapped up in an isolated feline martyr quality. 

The main character April is fighting to regain a state of grace that she lost as an ''It girl''  living in a superficial society obsessed with illusion while working in Hollywood. April is trying to penetrate the essence of her problems by being brave, screaming & articulating her pain through the film. She's trying to release the poisoned fragrance of her trauma. She's deprogramming her self by losing her mind. 

In the beginning of the movie we're shown a glimpse into her former ''It girl'' pop-culture life, at the complete absolute zenith of her fame, which is full of tacky excitement, flashes, games, disciples, vibrations and action. 
But then the film moves to the aftermath of all that, and to her current isolated life in London after rejecting her followers. But now she is battling her six personalities, so in a way she's leading six different realities and levels of consciousness. Each personality is a different level of consciousness, but music is her true prayer. She listens to The Carpenters while in exile, because she identifies with women who suffered, like Karen Carpenter, Judy Garland, Marilyn Monroe etc... but she also enjoys hanging herself by visualising her suicide. 

The film is also an insight into gurus, and how they deal with their followers problems, whether they are suffering from family or social suffering. The movies about spiritual terms instead of adolescent terms. 

So while she's living out Hollywood, April get's mixed up with this UFO cult, has an outer body experience and is raped by the cult. After this trauma and because she's already mixed-up with this narcissism of her glamour lifestyle, it finally turns her into a stretcher case. In the film we watch her fighting to win back her sanity. 

She constructs this mission to cure the most evil of her multiple-personalities, to lose her virginity and to feel touch, which gives her a fresh enthusiasm and a existential mission; the glorification to start communicating again. In general terms, she is coming out of a isolated fog and is looking for a universal consciousness. This girls story actually represents the whole elemental goal of humanity. 
Filmmaker Fabrizio Federico in Macclesfield
Feeling lost and sending signals into outer space, maybe that's why she joined a UFO cult to begin with. But she's still looking for an atomic attraction, or a spiritual push to come and save her. Dealing with six personalities will push anyone's sense's to the limit, but because she's in self-imposed isolation she cant really receive life's true miracle cure: human touch. 
Touch is the sparkling combination of feeling all of your senses all at once. So she decides to recapture her salvation by losing the virginity of the most evil, of all her multiple personalities, called Sam.

Sam is a mythological anti-hero personality, a complete freak who suck's on her bloody tampons, wears wigs and sexually terrorises her old guardian that she's living with. But in many ways April is sacrificing her sanity in order to purify her soul from Sam's sinister presence. In order to become a divine being again and to grow.

Tuesday, 19 November 2019

Brian Jones 'Lost Masterpiece' - A Degree Of Murder (Soundtrack)

The soundtrack by Brian Jones has never had an official release, possibly because of legal conflicts. Although the Yardbirds guitarist Jimmy Page, session pianist Nicky Hopkins, musician Peter Gosling, and Small Faces drummer Kenney played on the album Jones contributed many respective instruments to the recording sessions. It was recorded between late 1966 and early 1967 at IBC Studios in London. Jones stated that "the boys in the band played on the record" but Rolling Stones bassist Bill Wyman has said that neither he nor drummer Charlie Watts participated in the music making and Jones never elaborated exactly which members played on the soundtrack. Jones also stated that many session musicians play on the soundtrack but session logs reveal that most of the instrumentation was done by Jones himself. 

Jimmy Page talks about working on the soundtrack:
"Brian knew what he was doing. It was quite beautiful. Some of it was made up at the time; some of it was stuff I was augmenting with him. I was definitely playing with the violin bow. Brian had this guitar that had a volume pedal-he could get gunshots with it. There was a Mellotron there. He was moving forward with ideas."

British underground filmmaker Fabrizio Federico took inspiration from Brian's soundtrack for his movie Teddy Bears Live Forever (2019) proving Jones lasting influence in the cinema department: 
''It's a perfect film score, the tapestry of different instruments and sounds was a first in 1966, and on top of that this was his first soundtrack! God only knows what he would have created had he had lived, maybe he could have won an Oscar for best soundtrack at some point.''

In the tumultuous period between late 1966 and February of 1967, Brian reached the pinnacle of his songwriting success. Brian was dating the model/actress Anita Pallenberg and ended up composing the film score for the German-made film called "A Degree Of Murder" (Mord Und Totschalg) which starred Anita. Brian saw the project both as a creative challenge and something that would bring him and Anita closer. Keith Richards said of Brian's soundtrack:
"For a project nobody ever tried before-to write a whole piece of music for a film-it was good." 

The director of the film, Volker Schlondorff described the film and Brian's role:
"I liked Brian and trusted him. You could feel that he had a lot of creativity. He was very much in touch with his time and he was also very much in love with Anita, the only actress in the movie - and its soul. She was bound to inspire him, if he was to write the music for her. And it wasn't just that his music was special, it was that the score was so spontaneous, vital. Only Brian could've done it. He had a tremendous feeling for the lyrical parts and knew perfectly the recording and mixing techniques required to achieve the best sound for drums, his guitar or flute et cetera." "When the editing was done, Brian came back to Munich and sat in the editing room with me as we discussed, just as with any other professional movie composer, where to put music and what kind of music. It was just the true story of a girl who accidentally kills her boyfriend with his own gun, but instead of going to the police she hires two men for a few hundred marks to drive the corpse to the country where they bury him in the construction site of an autobahn. No moral implications, no guilt trips. It's more like an outing on a beautiful autumn day. Brian's score then was to provide a reflection of those rather callous feelings, while somehow managing to hint that of course she was mourning her boyfriend's death."

Brian wrote a theme, which is reprised throughout the film in various styles including bluegrass, folk, Eastern influences, R&B, rock and country. Once Brian had accumulated enough material for the project he turned to Glyn Johns to help put it together. Although the two men did not get along personally, they worked together smoothly on the project. Glyn Johns described his role: 
"Brian came to me and asked for help. He'd lost so much self-confidence by this time and really was in need of a hand. In a way I felt sorry for him. It wasn't that I didn't think he was capable of handling the project himself. But clearly he wanted help in the engineering. So I agreed. Brian worked very hard in his Courtfield flat on two little tape machines. He had all types of ideas which worked. He did it very well, and it came out amazingly. And we had a good time doing it. Brian was extremely together and confident while he was working on it. When it was finished he was both pleased and relieved. The rock 'n' roll bit which was written to fit the early murder scene was really good" 

The soundtrack was recorded at IBC Studios between late 1966 and early 1967 with all music composed, arranged and produced by Brian (with Glyn Johns engineering). The soundtrack also featured session musicians Jimmy Page (guitar), Nicky Hopkins (piano), and Peter Gosling (background vocals). 
Brian played all the other instruments including: sitar, organ, recorder, banjo, harpsichord, autoharp, dulcimer, clarinet, and harmonica. In the March 10, 1967 official press release, Brian explained that he used players: 
"ranging from one musician to ten. I ran the gamut of line-ups - from the conventional brass combination to a country-band with Jew's harp, violin and banjo. In the main the musicians were established session men - though some of the boys from the group also played."

Although the exact beginning dates of the recording are sketchy, we can pinpoint a general ending date for the project at around February 12th, 1967. Brian had been working on the finishing touches of the film score on this date when the infamous Redlands bust occurred. In fact, Brian had called Keith to tell him that he and Anita would be joining the party within a couple of hours, only to be informed by Keith that Redlands had just been busted. The following events might sound like a soap opera, but they involve both stories that both involve Brian's soundtrack and had ramifications to Brian being able to enjoy his success.

Next stop: Their Satanic Majesties Request....

Monday, 21 October 2019


The question of whether great art can be a service of evil is a difficult question that has put art on trial several time in history, but it is a question worth pursuing. 

Colonel Gaddafi set up a state-funded channel that constantly replayed his favourite film: ''The Adventures of Buckaroo Banzai''
Kim Jong-Il kidnapped his favourite South Korean movie director Shin Sang-ok, and forced him to make films for the North Korean government. 
And failed artist Adolf Hitler allegedly drew his favourite Disney characters in secret.
Stalin fancied himself as a director, producer and screenwriter and, according to historian Simon Sebag-Montefiore, ordered the assassination of John Wayne following the screening of one of his films. 
Benito Mussolini approached Columbia Pictures with a million dollars to make a biopic about his life, even offering to write the script himself. Columbia (thankfully) refused. 
And Iraqi dictator Saddam Hussein plunged $30 million of government money into the production of an epic war movie starring British acting legend Oliver Reed. Called ''Clash of Loyalties'', it was made in 1983 - though it swiftly disappeared into obscurity. Infamous despots have long had a deep love of cinema.
And on a conspiracy level, did Stanley Kubrick film the 1969 moon landing on a movie sound stage in order to win the space-race against Russia? 

Despite being diametrically opposed to much of what Hollywood stands for, fascist and communist dictators alike have often fallen in love with the Californian dream factory. Some even rubbed shoulders with the stars. Italian dictator Benito Mussolini even invited American talent over to Italy.

''Triumph of the Will' records the gathering together of hundreds of thousands of Nazi Party members, troops and supporters on September 1934 in Nuremberg. Directed by Leni Riefenstahl it is considered the most artistic propaganda movie ever created, with an ambitious grandiose scope resembling a Wagner opera, manipulation on a grand scale that shows off the dictator as a Godhead adored by millions, similar to how Hollywood celebrities are adored. A sobering thought: Most of the people on the screen were dead within a few years. 

The American film ''Birth Of A Nation'' by D. W. Griffith was both a critical and commercial success in 1915, the film is technically brilliant but its intolerant message is a capsule of early 20th century society. Some say that ''Top Gun'' is one long advertisement for the navy. In order to keep costs down, the producers made a deal with the government: they could use warplanes and aircraft carriers for a reduced price if they simply gave up some creative control in return.

American cinema was never far from the mind of Kim Jong-Il, either. "Kim personally did love Hollywood films and Hollywood stars, the James Bond films, Friday the 13th films, and Elizabeth Taylor are often mentioned as personal favourites. "He amassed arguably the largest private collection of movies anywhere in the world, and his worldview was shaped by movies. "He was a national leader who had never really left his own country, so films were a huge chunk of his experience of the outside world. 

Brexit-Britain is also captured in the film ''LOON'' directed by Fabrizio Federico, the movie follows the tragic story of a doomed working-class family while a dogmatic Brexit society acts as a surreptitious character in the background, influencing the viewer to see the type of people who mainly voted for the UK to leave the European Union and implying that Democracy is not always right. Especially if the majority of the voters make the wrong political decision on a mass scale, creating economical chaos but because the vote was made in the name of democracy it cant be retracted. In the films final scene Federico knocked out the main actor by banging his head with a fridge door.

North Korea's best known film is ''A Flower In Hell'' directed by Shin Sang-ok, a more obscure tragic side to propaganda films is what can happen to the films cast if they fall out of favour with the dictator, who is usually the producer at the time. North Korean actress Woo In-Hee who was having a secret affair with Kim Jong-Il fell out with him after she was found making love to another man in a car. His response was to execute her by firing squad and then systematically erase her from history, cutting her out of all her movies, not caring about the films continuity in the process. 

Adolf Hitler was allegedly a big fan of Austrian born director Fritz Lang, who directed ''Metropolis'' and ''M''. Modern historian Aristotle Kallis, of Keele University, explains that Hitler took a "hands-on" approach to film in his rise to power - and utilised it to bring the Nazi party to the forefront of German politics. "I would say that audio and video are key," notes Kallis. "Hitler built up a reputation after 1928 when, with the money from politician Hugenberg, he used modern media better than anyone else to campaign." It was, however, Joseph Goebbels - the Reich minister of Propaganda - who used film to manipulate the masses. Kallis suggests that Goebbels often preferred drama over documentary. "Goebbels understood the power of film as a propaganda tool. "For him, the most effective propaganda was the 'fictional', not the didactic or documentary-style. He funded a lot of blockbusters, especially during the war."

In the case of Kim Jong-Il, the dictator's love of film formed part of his desire for control. "This was man who had grown up in turmoil," he says. "He was exiled from Pyongyang during the Korean War as a child for his protection. His mother died young. 
His father had a string of affairs and then married a secretary the younger Kim loathed. "By the time Kim was in his late twenties and power-hungry, he volunteered to run the state film studios after a political purge. "He was smart enough to see that his father had the monopoly on military and political glory, but that the way for him to make his own name could be in the arts and propaganda. "It could give him the power to mould reality." In the end, perhaps it's no surprise that individuals hell-bent on bending the world to their will would find so much to like in the fantastical and manipulative possibilities of film.

Other Great Propaganda Films
  • The Burmese Harp (Kon Ichikawa, 1956) ...
  • I am Cuba (Mikhail Kalatozov, Michail Kalatasow, 1964) ...
  • Three Songs about Lenin (Dziga Vertov, 1934) ...
  • Red Psalm (Miklós Jancsó, 1971) ...
  • The Cloud Capped Star (Ritwik Ghatak, 1960) ...
  • Battleship Potemkin (Sergei Eisenstein, 1926) ...
  • Class Relations (Danièle Huillet, Jean-Marie Straub, 1984)
  • Yankee Doodle Dandy (Michael Curtiz, 1942)
  • Stukas (Karl Ritter, 1941)

Monday, 14 October 2019

THE ACID KING: Filmmakers talk Satanism, Drugs & Heavy Metal

Interview with Jesse P. Pollack & Dan Jones, the filmmakers behind the 2019 true crime documentary, THE ACID KING. 

What first attracted you to Ricky's tale? 
JESSE: Back in 2014, I was working on my first book, DEATH ON THE DEVIL'S TEETH, which chronicled a 1972 murder that was blamed on Satanism and Witchcraft. While researching that story, I kept hearing about the Ricky Kasso case. I read up on it and decided it was worth examining in my second book. Once I got to interview people involved in that incident, I found out that the press really mangled this story back in 1984, and it became my "mission", so to speak, to set the record straight on the myths and lies surrounding Ricky Kasso and his victim, Gary Lauwers. That book, also titled THE ACID KING, was released in October 2018 by Simon & Schuster, and this film is a direct documentary adaptation of it. 

DAN: I first heard the story from Jesse when he got the book deal going. He'd tell me more and more about it as his research went on and I realized that this was a lot deeper than a kid who sacrificed his friend to the devil. It's a heartbreaking story about a boy who was just discarded by society because he didn't fit the mold his father tried to put him into. So initially, the bullshit of the story is what caught my attention. 

Why do you suppose he was so attracted to Satanism? 
JESSE: I think Satanism offered Ricky a chance to feel powerful for the first time in his life. As a kid, he was into rock n' roll and horror movies, which already carried the "Satanic" label, so this just became an extension of that. As he grew older, it became more and more apparent that he wasn't going to live up to his father's ambitions for him, so things came to a head and Ricky was eventually thrown out of his home in the 7th grade. He was forced to sleep in the woods and public bathrooms when he couldn't find an unlocked car or a friend's couch to crash on. He survived on bagels and cheap bologna sandwiches that he bought by selling pot and LSD behind a restaurant by the high school he had dropped out of. When your existence has deteriorated to sleeping on dirt and eating warm lunchmeat on stale bread, you'll do anything to feel some form of power and control in your life. 

DAN: Ricky had nowhere to turn. The idea that Satan would save him was his last ditch effort to survive and it didn't exactly play out that way - or maybe when Ricky decided to end it, he thought he was being saved. 

Apparently after he got into Satanism, he became an amazing football player - do you think there's a coincidence there? 
JESSE: Never happened. That's a complete myth. Ricky was always a talented athlete, but if anything, his performance worsened as he got older. He was no longer interested in sports by the time he was in middle school, and between his pot-smoking and lack of athletic ambition, his performance only got worse until he eventually dropped out of school. One of the main reasons why Ricky was thrown out of his home by his father was Ricky not wanting to play football anymore. His old man wanted him to be the next Johnny Unitas and flew into a rage and beat him every time he missed football practice. One of the most gut-wrenching stories I was told while writing the book was by a friend of his who recalled Ricky pulling up his shirt to show him the bruises his dad had left on his chest by beating him with a wooden broomstick for missing football practice. What the fuck kind of father does that? It's a shock anyone was surprised at what later became of Ricky - look at the people he had for parents. 

DAN: He got into "Satanism" as an escape from sports - not as a way to get better. 

Were people happy to talk about Ricky during your research? 
JESSE: Once they realized I was trying to set the record straight and wasn't in the business of selling more myths, most people were willing to talk on the record. Some gave me information on an anonymous basis, but most were happy to be a part of this book and film project, as it helped them reclaim their own life stories. A few people weren't as happy. One of the witnesses to the murder, Albert Quinones, would only speak to us if we could offer him money and a movie deal, which completely goes against the ethics of journalism, so we declined. One of the kids who was brought by Ricky to see the body of Gary Lauwers would only speak to us if we offered him cash. When we declined, he said, "Go fuck yourself and get a real job." So, sometimes you get shit like that. 

DAN: People not one degree away from the story were easier to talk to than those that knew Ricky and Gary. There were plenty of people that told Jesse to go fuck himself. A few folks we met on the street who asked about the cameras were eager to express their thoughts on the story, as well. Nobody tried to chase us out of town, or anything - not yet, at least. 

Did anything strange happen during the making of the project? 
JESSE: For about a year, I was trying like hell to find Jim VanBebber, who directed the Kasso-inspired short film MY SWEET SATAN (1994). One lead would take me to California, another to Florida. Finally, a mutual friend - super-talented artist Cody Lee Hardin - tipped me off on where I could find him, and it turned out he was living literally only a half hour away from me. I bought the main camera we used in the making of this film at a pawn shop in that same town. I was grocery shopping there every Saturday at one point. So once I found him there, I was finally able to ask him if he would appear in the film, and luckily he said yes, because he steals every segment he's in. His interview was so intelligent, insightful, and even hilarious that I couldn't picture this documentary being anywhere near as effective as it is without him. So yeah, finding out that one of the biggest names associated with Kasso's pop culture legacy was living so close by was pretty wild. 

DAN: When we were shooting in the Crab Meadow cemetery where Ricky tried to dig up a grave, Jesse knew of a tree that Ricky carved his nickname into. We eventually found it a few yards away from the grave he defiled. You could clearly see "ACID KING" cut into the bark, weathered and worn from the 33 years that had passed. Then, Joey Slater-Milligan, a photographer who was with us, pointed out "Gary" carved into the tree a few feet below Ricky's "Acid King". This was surreal - just knowing they both stood there, together, and immortalised themselves into the tree bark long before their lives would become permanently intertwined. 

What was the hardest aspect of this project? 
JESSE: Editing. This film was shot on a shoe-string budget, so we didn't have the luxury of using 4K cameras with expensive lenses on them - or even 16mm, which I honestly would have rather shot it on, if only for aesthetic purposes. Our second unit, run by the amazingly talented Rusty Tagliareni (Antiquity Echoes) and Sommer Jonez (YES, NO, GOODBYE), had better equipment than Dan and I were using for the main portion of the shoot, so those scenes were easier to edit, but the rest of the footage was a pain at times. Due to the low budget, we had to use DSLRs and consumer-grade lenses, and learn how to calibrate them on the fly. I grew up making short films on Super 8 and VHS-C, so a lot of this stuff required a crash-course in modern digital filmmaking for Dan and I. We literally went to the YouTube school of filmmaking for about three months during pre-production, which was pretty helpful, but we still made some mistakes. A few times, we were accidentally shooting 30 fps on the B cam while the A cam was shooting 24. If you know anything about editing, you know that to fix this, you have to render the 30 fps footage down to 24 fps in post, and it makes motion look jittery and fucks up the audio synchronization - which was a major issue, as we muted the camera's mic when we shot, due to us using lav mics. We spent a LOT of time fixing audio sync errors. Also, lighting and monitors became really tricky. We'd spend 30 minutes lighting an interview subject and it would look great on the HD LCD monitors we were using, but once we got it into the editing bay, we saw a ton of digital noise. So, we had to go in with special software and "de-noise" a few segments. In some cases, it was barely noticeable, but in others it was a little more obvious, so that led to some frustration - but no one complained about it at the premiere, where it was blown up 50 feet high, so maybe we're just being hard on ourselves for not making a pitch-perfect $6,000 first-time feature. 
DAN: Getting to Long Island. I nearly missed my flight. 

JESSE: I would have fucking killed him. (Laughs) Someone would have been making a true crime documentary about ME! 

Do you think heavy metal had a hand in the murder, or was it just a deadly cocktail of circumstances? 
JESSE: The murder of Gary Lauwers had nothing to do with heavy metal. I know Ricky Kasso has been adopted as this pseudo-antihero by the heavy metal community due to the historical revisionism that was hocked by the tabloids and the trashy exploitation paperback written by that plagiarizing hack, David St. Clair (1987's SAY YOU LOVE SATAN), but in reality, the heaviest music Ricky listened to was Black Sabbath - which is considered "oldies" by today's standards. Ricky's favorite bands were The Who, Frank Zappa, and The Grateful Dead - hardly the frothing-at-the-mouth thrash rockers that the media would love to blame this stuff on. Ricky was an abused, mentally-ill, drug addicted child who finally snapped after one-too-many bad days. I'm not trying to justify or downplay what he did to Gary Lauwers, but I have to reject this media lie that's been perpetuated for almost 40 years now - he wasn't some maniac who sprouted from the ground, ready to kill because Ozzy Osbourne and Anton Lavey told him to. Ricky Kasso was an abused kid who needed serious, professional help, and instead got a lot of "tough love" bullshit from his parents and teachers, and we all know what happened next. 

DAN: I'd say it was more the drugs and lack of support Ricky had from his family and community. The idea that music influenced his actions is dishonest and a scapegoat. 

What can viewers learn from this documentary? 
JESSE: Hopefully viewers will learn how this tragedy was exploited by a scoop-hungry media, and the after-effects of it are still being felt today, especially in Northport. This incident helped kick off a worldwide moral panic that cast children as literal supervillains in a religious culture war. For decades, cops got their jollies branding kids - usually ones from a lower economic bracket - as "Satanists", and went about harassing them needlessly. Parents saw this shit on Geraldo and Oprah, and turned their children into virtual prisoners inside their own homes. Lives were ruined by this. God knows how many teenagers committed suicide due to the pressures inflicted upon them by their parents and society in general during the Satanic Panic, and who knows how many innocent kids were convicted of crimes they had nothing to do with. Look no further than the West Memphis Three. Hopefully parents will watch this film and love their kids a little better - and take what they read about children in online or in the newspapers with a boulder of salt. 

DAN: Hopefully the truth that Ricky was just a damaged kid with nobody to offer him actual help - that it wasn't just the devil and heavy metal. 

Do you think Ricky was evil? 
JESSE: Ricky Kasso made a series of horrible choices that can never be undone. However, if he hadn't been failed by his family, his teachers, and his friends, I think he - and more importantly, Gary Lauwers - would still be alive today. That's the biggest tragedy of this whole story - it was completely preventable. 

DAN: Ricky wasn't "evil"; Ricky was lost. Ricky didn't have a home or family near the end of it. He couldn't go home. 

How did the collaboration process develop between you both while making the film? 
JESSE: Dan and I have been creative partners since we were 19 years old. We started out writing short stories together and eventually moved on to podcasting and filmmaking. Every step of the way, we worked together on selecting the right equipment to fit within our budget, where and when we would set up a base of operations while filming out on Long Island, and how to structure each scene once all of the interviews and B-roll were shot and in the can, so to speak. We both had film "bibles" - notebooks we used for notetaking and transcribing interview footage - and we coordinated the data from both of those books to make the best scenes out of the material we had. It was a really great collaborative process and I hope we can continue creating worthwhile work for years to come. 

DAN: We're both very comfortable with one another in the sense that we both know our individual skillsets. Jesse ran the interviews since he knew what to talk about, whereas I set up all the cameras and the technical aspects of the shoot. It was a pretty painless go around on our second trip to Northport. 

Where can viewers see the movie? 
JESSE: THE ACID KING will be available to view on Amazon Prime this fall - stay tuned. 

DAN: We will eventually have a physical media release too - because physical media will never die.

Thursday, 15 August 2019

Interview with filmmaker Anatoly Pasichnik

Long Road Home will be screening at the Straight-Jacket Guerrilla Film Festival

How did you get into making films?
From early childhood I liked to watch movies. Over time, the film industry has drawn me more and more. During this period, I wanted to know exactly how movies are created. I read a lot of books in this direction and decided to practice shooting video clips.

What inspired you to make your movie?
 I was inspired to create a film by my own book "the Long way home" based on which the film was made.

How has your style evolved?
 I think developing your own style takes place over the entire career of the Director. This is only my first film so to talk about own style you need to shoot at least two more films. In the meantime it is too early to talk about it.

Tell us any strange or funny stories while making the film?
 "Long Road Home" is the first full-length mystical thriller, filmed without the support of the Ministry of culture of the Russian Federation and without the participation of the major film studios.

 - None of the participants of the project does not have any professional education in the field of film industry.

 - About 40 % of the scenes described in the film took place in real life. For example, the scene with the family in the car on the track and the doctor’s conversation in the doctors ' lounge. The Director was personally present. It was so interesting that he just took a piece of paper, a pen and started to write down everything he saw and heard. Of course, these scenes for the film have to be changed a little under the plot, but it is still about 75% true.

 - Many of the characters of the film, as well the novel, have their prototypes in real life. Some of them played themselves in the film, but some, for one reason or another, couldn’t take part in the filming.

- Almost all mentions of the name "Pasichnik" are excluded from the opening credits, except the Director, despite the fact that the director himself has played a major role. Leading roles were played by: the director’s brother Dmitry Pasichnik and his uncle Anatoly Pasichnik, the name of the last one was decided to change on "Rybakov ".

 - All movie scenes are shot either in nature or in real places (school, hospital, and others). None of the decorations was made for the film.

 The Misrule Film Movement & Pink8 manifesto bring what to mind?
 There are a lot of rules in filmmaking, but there are no laws. In order to break the rules you need to know them.

What can we expect from your next film?
 It's going to be a bomb! There's no point in talking about it. As soon as I make this film you will definitely see it.

Friday, 9 August 2019

Interview with filmmaker Sergio Aparicio

Galsen - The Language of Souls will be screening at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
I have always said that it's important for us Afro-descendants to tell our own stories, without filters or intermediaries who try to adulterate our reality, only we know how we feel and how we perceive it. That is why it's interesting that in our community we create references with different perspectives so that we have a voice within the multiple artistic disciplines that exist. In the case of cinema, it is necessary that works are created from our perspective. 

*What inspired you to make your movie? 
Galsen, the language of souls, is the fruit of the need to narrate and express my history. The story of an Afro-descendant who is reunited with Motherland, the history of the duality of living between two worlds and not fit in any, of being a stateless person, a being in no one's land. From the need in my case, to tell the story of my rebirth to my unfiltered mother, from the depths of my being and leave that experience reflected in order to inspire people like me to tell their own. 

*How has your style evolved? 
It took me two years to complete the movie. I did not have any economic budget that's why I had to record it, direct it, compose the soundtrack, produce it, edit it and finally distribute it and promote it. The equipment I had was a video camera and a tape recorder. It sounds pretentious enough to want to make a film in those conditions right? I had a story to tell, something pure, translucent and real, that is the most important thing and the impulse that led me to realize it. I promised myself that I would do this film with what I had and that's how it was. Along the way I have been dragging and have been adding a cast of film professionals, musicians and artists, more than 70 people in total, who have given body to this story through their own ". 

*Tell us any strange or funny stories while making the film? I almost got kidnapped on the border between Gambia an Cassamance... No comments. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
Cool shiit! 

*What can we expect from your next film? 
I combine cinema with photography and music, all under the pseudonym OKOBÉ, this is how you can find me on social networks. I am currently working on the script of my next fiction short film in which I have been submerged for a long time and I'm working as a photographer and art director for international artists from here in London, designing their artistic concepts, from the cover of their albums to their staging.

Wednesday, 7 August 2019

Interview with filmmaker William Stancik

Mr Deviltree will be screening at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films?
The Fear of Death. I did not want to die without having made the movies in my head.

*What inspired you to make your movie?
The forgotten movies. Movies that exist in the corners. The unreliability of identity and translation.

*How has your style evolved?
More trust in the Moment. Getting out of my own way. Untying the shoelaces of continuity. Bootleg yourself.

*Tell us any strange or funny stories while making the film?
Unfortunately, I am having Post-Film Amnesia. Sometimes when you are filming the camera whispers little lies, and you cannot let the camera know that you know; the moments will find their way back to you.

*The Misrule Film Movement & Pink8 manifesto bring what to mind?
The wire monkey wrapped in cloth is a mother to the Beautiful Mistake.
I generally subscribe to Magpie Theory: take what speaks to me, and put it in the nest with the icepick and Lucia's silver spoon. Then look for the second magpie and watch out for the seventh, i.e.:

One for sorrow,
Two for mirth
Three for a funeral,
Four for birth
Five for heaven
Six for hell
Seven for the devil, his own self.

*What can we expect from your next film?
Already in editing: "Captain Jarvis and the Red Soda Kid." Culture is an implant of other people's choice of memory. Time is ambiguous.  Fire keeps the Octopus away.