PHANTASM EXHUMED: AN INTERVIEW WITH AUTHOR DUSTIN McNEILL

When someone says the word “franchise” or “series” to a horror fan, inevitably that fan will immediately think of Friday the 13th, A Nightmare on Elm Street, and Halloween. Jason, Freddy, and Michael have been infamous horror genre boogeyman for approaching forty years. They are the next generation’s Dracula, Wolf Man, and Frankenstein’s Monster. But they are also, with all due respect, half-ideas and whisper-down-the-alleys. Their imperfectly perfect originals (each film for different reasons) have been fleshed out, explored, expanded upon, and exploited with multitudes of sequels and remakes, none of which had the input from the creative team responsible for bringing the groundbreaking original to screens. Their tangential mythologies have traversed such differing directions that they eventually no longer embodied what their original creators had established.

That cannot be said for the Phantasm series, which has seen the same writer/director on all four films, as well as most of the cast. In 1979, series creator Don Coscarelli unleashed upon the world an absurd and bizarre fever dream called Phantasm. And its main cast of A. Michael Baldwin, Reggie Bannister, Bill Thornbury, and the immeasurable Angus Scrimm have been along for the ride ever since. (I suppose we can “forgive” the presence of James LeGros as Mike in Phantasm II, but no forgiveness is necessary, as he was great in the role.)

Getting back to those aforementioned horror franchises, they have been lucky enough and beloved enough to receive respectful and definitive retrospectives with an assemblage of books (Crystal Lake Memories; Halloween: The Complete History) and video documentaries (Halloween: 25 Years of Terror; Never Sleep Again: The Elm Street Legacy).

Up to this point, beyond special features on DVD releases, no such attention has ever been paid to the Phantasm series, consisting of the original, Phantasm II, Phantasm III: Lord of the Dead, and Phantasm: Oblivion.
 

Enter Dustin McNeill, owner of the Phantasm Archives, moderator of the Phantasm Community, longtime Phantasm fan (er, phan, as we're often called), and now author, who has penned Phantasm Exhumed: The Unauthorized Companion, which streets late March from Harker Press. In the author's own words, Phantasm Exhumed is "a meticulously researched look at the chronological day-by-day making of the four Phantasm films from script page to world premiere as told through the stories and anecdotes of cast, crew, producers and effects makers. In addition to the four film sections, Phantasm Exhumed contains a Primordium chapter that covers in less detail the making of Don Coscarelli's first two films, Jim the World's Greatest and Kenny & Company...The book also benefits greatly from the inclusion of rare and unpublished journals by Angus Scrimm and Kristen Deem that collectively span all four films."

To quote the book's author, let's do a little more digging...

---

Tall Man in Desert: Guy Thorpe

The End of Summer (TEOS): At what age did you discover the weird and wild world of Phantasm? Where were you, and which film was your first?

Dustin McNeill (DM): I was fifteen when I happened upon the original at my local video store. I thought it was terrific, but never gave any thought to there being sequels. When I discovered two years later that sequels existed, I very quickly tracked them down and thought they were just as great. Phantasm: Oblivion is my absolute favorite sequel. Parts II and III I dig almost equally, with a slight edge going to Phantasm II.

TEOS: What was it about the Phantasm series that drew you in?

DM: The Tall Man! What a great horror villain! He barely spoke, but when he did I hung on his every word. I immediately recognized that the series wasn't spoon-feeding the audience answers about him or the other weird goings-on. The mythology required that you figure out certain things for yourself. I loved that.

TEOS: I recall reading your excellent Phantasm article in a 2009 issue of HorrorHound Magazine. Was this you testing the waters for a run at a potential Phantasm book? Or did writing the article parlay into the idea that you could potentially write an entire series retrospective?

DM: Thanks for the kind words. It came together very quickly and I would've loved to have had more time on it. In 2009, I was just beginning work on my book when the HorrorHound opportunity presented itself. I wasn't really sure what the focus of my book was yet, though I sensed there was a huge demand for it. That the issue completely sold out and is now only available from collectors reinforced to me that there is a major audience waiting. That doesn't happen to every HorrorHound issue.

TEOS: Though Phantasm isn't as well-known a horror franchise as, say, Halloween or A Nightmare on Elm Street, phans have had the opportunity over the years to delve into publications like Fangoria, or your HorrorHound, or the expansive documentaries found on special edition DVD releases, to access a wealth of information on the making of the Phantasm films. What will your book be offering that previous sources have not?

DM: Great question. Everything you've read or seen about Phantasm so far has been in a general sense. Everything. My book is going to take a very detailed, chronological look at the making of these four films… meaning I take you back to March 20, 1977, when they shot the Tall Man chasing Mike through Morningside Mortuary for Phantasm. Or January 5, 1987, when they filmed Mike and Reggie raiding the hardware store for supplies for Phantasm II. Or February 23, 1993, when they filmed the Demon Nurse's attack on Mike and Reggie for Phantasm III. Or November 22, 1997, when the Tall Man tried to remove the sphere from Mike's head in Phantasm: Oblivion. Basically, this book is really digging deep with the details.

A huge inspiration for me in taking this direction was J.W. Rinzler's fantastic books on the makings of Star Wars and Indiana Jones. Being able to excerpt Angus Scrimm's unpublished Phantasm set journals also help set this book apart from everything that has come before. I think phans are going to really enjoy seeing those.

Liz and the Creature: Mark Shostrom

TEOS: Have you managed to attract previous members of the Phantasm phamily who have never before shared their experiences working on the films?

DM: Yes, very much so. I was surprised to be the first person to interview a number of people associated with the series. Ken Jones, the original sphere victim, has never had the opportunity to speak publicly about Phantasm. There are also people who've shared their experiences before, but not often and not in a long, long time, such as Kevin Connors and Gloria Lynne-Henry (Tim and Rocky from Phantasm III).

TEOS: You've previously shared that series creator Don Coscarelli is not involved with the book. Why did he refrain from participating?

DM: I can only speculate. I know he heard about the project years ago before I approached him, which did not bode well. Prior to the book, my main communication with Don were emails asking that I remove information or videos from my website, the Phantasm Archives, when I was posting news too early or something they wanted to save for a future DVD release. So I was never tight with him like I was the cast. Obviously, it would have been incredible to involve him. I imagine he will eventually read it and I hope he will like it. It is, after all, a warm tribute to his work.

TEOS: Besides Don, were there any other individuals from Phantasm history who proved elusive that you wish you could have interviewed?

DM: Willard Green, father of the original silver sphere! I grabbed a local fortuneteller and attempted a séance in hopes of getting an interview, but nothing came of it. Sadly, Green died before the original Phantasm saw release. He never had the opportunity to see his work on the big screen.

TEOS: Just out of personal curiosity, did you manage to score an interview with Kenneth Tigar, who played Father Meyers in Phantasm 2 ? I love that guy!

DM: Yes, Father Meyers is in here. Kenneth was terrific and had some great things to say about making Phantasm II. Of his character's silver-sphere demise, he said, "It was one of the most interesting things I've ever done in my entire career." I was excited to see him appear in The Avengers shortly after our interview. He played one of the few mortals that ever stood up to Loki!

TEOS: The book will be including rare and never-before-seen photographs from the productions of the Phantasm films. Where did you obtain them?

DM: The crew! A handful of interviews I did ended with someone saying, "Hey, I think I have some photos in storage somewhere if you want them." I wound up collecting more than a thousand unpublished photos from these films. Phantasm Exhumed is set to include more than 200 of them. The great thing is that a majority of these images, such as those from makeup effects creator Mark Shostrom, were digitally scanned in from their original negatives and look fantastic.

Mike Hanging: Guy Thorpe

TEOS:  Will you be delving into the unproduced script by Roger Avery, referred to as Phantasm: 1999?

DM: Yes, the book has an entire section dedicated to just that project. I don't want to say too much here because it's all there on the page - the multiple drafts, the changes, the cast reactions and the different reasons for it ultimately not being made. Exhumed also has sections dedicated to the aborted remake that New Line Cinema attempted and the Phantasm V project from a few years back—the one that generated the infamous cast reading.

TEOS: The trend seems to be, first, publishing the massive retrospective book, and then turning it into a video documentary, as was the case with Crystal Lake Memories, and Going to Pieces: The Rise and Fall of the Slasher Film. Have there been any preliminary discussions about that?

DM: Not at all. I've been so engrossed in the book that I can hardly see anything beyond it. I was happy to have been involved in the Phantasm II blu-ray documentary a year back, but I think that will mark the extent of my documentary contributions to Phantasm. Not that there isn't ample footage/material out there with which to make a new documentary.

TEOS: Being that you maintain a close relationship with the cast, you would be privy to certain details that the general public are not. The possibility of a Phantasm V has existed for going on two decades. While I'm certainly not asking you to spill the beans on anything you may or may not know, instead I am asking, do you think phans will ever be blessed with a Phantasm V? 

DM: Yes, absolutely. You will totally see it. I've been saying on the Phantasm Archives and Phantasm Community that the official Phantasm camp have been filming it since 2008, but no one seems to pay attention to that. Heck, I even debuted the first photo from the project of Reggie on the Archives. It's been a grueling wait, but you will eventually see it. Can't spill any more beans on it than that.

TEOS: Why do you think the Phantasm series endures?  

DM: I think it endures for a number of reasons. So many elements come together to make these films work. You've got endearing performances from a terrific cast, a wonderfully intriguing story, solid direction, dazzling special effects, top-notch makeups, and unforgettable music. This is a franchise that, despite having gone direct-to-video, has yet to compromise itself. Few horror franchises can honestly claim that. There's also a timeless quality to the series in that these films don't really date themselves all that much. It endures for these reasons and more.

Mike and Tall Man: Mark Shostrom

---

Phantasm Exhumed purchase details are still being worked out, though it will likely be available via Amazon, Barnes & Noble, directly from the publisher, and from the usual dotcoms. For the time being, keep an eye on the Phantasm Exhumed site for the latest details. That is, if you've got the...balls? (Yep, I did that.)

AN INTERVIEW WITH DAVID SCHMOELLER – PART 2: TOURIST TRAP

Tourist Trap (its Unsung Horrors entry here) is the most insane movie you likely haven't seen. I'd attempt to explain exactly what it's about, but I would become lost in the subplots and sub-sub-plots and I'd question if I were actually remembering everything significant to mention, and then I would likely wander away to satisfy my impulse to watch the film again. Simply, it is a 1979 oddity about a group of stranded kids, living mannequins, a man with telekinesis, and a lot of nightmarish imagery. It is terrifying and absurd and hilarious and disturbing somehow all at once. It is a mind-blowing film that offers dozens of questions with little answers. If there's one person who could shed light on this unheralded little beauty, it would be the film's director, David Schmoeller, returning again to The End of Summer for a frank discussion on the film's origins, a little about Puppetmaster, working with Charles Band, and the 1970s.

The End of Summer (TEOS): I think the best way to start off is for you to provide the genesis of Tourist Trap. This is a film that I saw for the first time several years ago and just did not know what to think. It was horrific and strange and alternately kind of hilarious. I've revisited it several times since then, and not only does it hold up, but it gets better – and I find more to appreciate about it – with each viewing. This isolated man's nightmarish house seems to exist in its own world and with its own rules, and nearly all of it defies explanation. How on earth did you come up with this concept?

David Schmoeller (DS): There is a “why” and a “how” aspect to this question. The “why” – why did I come up with this idea? The answer is a very practical one. I had just graduated from film school and was looking for a way to break into Hollywood as a feature director. When I was in grad school at the University of Texas at Austin shooting my thesis film, Tobe Hooper was in Austin shooting The Texas Chain Saw Massacre. It was a low-budget hit that launched his career. So, I decided to do a horror film in the same vein.

The “how?” My thesis film – The Spider Will Kill You – was a "Twilight Zone" short about a blind man and mannequins. I thought the aspect of mannequins coming alive – and their ability to scare you (or creep you out, at least) – was a good ingredient. So, I used some of the basic structure of Chainsaw (van full of young victims) and the lone madman who appears to be okay (Psycho).

TEOS: Tourist Trap exists in a very surreal and nightmarish landscape – if I had to compare it to another film, I would cite Phantasm, due to its dreamy tone and its lack of explanation in regards to the film's more oddball offerings. It's this kind of dreamy tone that makes Tourist Trap stand out from its other late-1970s counterparts. At what point in the production phase did you realize you wanted to push this kind of surreal and unusual approach?

DS: I think that dreamy quality was in the script, and also in previous short films I had made. (The Spider Will Kill You* and Lora Lee's Bedroom* – those are just two of my shorts that had the same quality.) And the tone of those short films probably came in part from my literature studies from my days living and studying in Mexico – the influence of magic realism. And of course, the main influence of The Spider Will Kill You was this bizarre line of mannequins I found in J.C. Penney’s that was so perversely surreal, it makes me laugh to this day (this was the late 1960s). The infant mannequins had some facial features – eyes, nose, mouth, ears – but parts were starting to disappear. As you went up the age-representation of the mannequins – say, the three-year-olds – they started losing whole features – maybe just a single eye. It was just smoothed over. As the mannequins aged, they lost more and more features – until you got to the adults, and all their features were just gone…all smoothed over…so that they almost looked alien. They were so highly stylized; they just didn’t seem to belong in a place like J.C. Penney’s – very surreal and very bizarre. That was when I came up with the story for The Spider Will Kill You.

TEOS: There is a wonderful juxtaposition of legitimate terror and strange, almost absurd humor. I'll cite the "dinner scene" – when Slausen and his "brother" share a meal of soup, which ends with the brother's head falling off – as an example. Noticeably, the film doesn't inject any humor until the kids are already in peril. Because of this, the humor seems to come out of nowhere and feels unexpected. Was this a conscious choice?

DS: Well, I certainly hope the humor was intentional. Although, at the first cast and crew screening in L.A., there was some unexpected laughter in places that surprised me – I remember asking the person next to me, “Why are they laughing?” It could have been nervous laughter – or they could have been laughing at the absurdity of it all. Or, maybe they just thought something or other was just so awful that it was laughable. L.A. cast and crew screenings are full of people who are very cynical – not at all like the cast and crew screenings in Las Vegas, which are nice love-fest screenings. In L.A., they have seen and worked on everything and they tend to judge film work much more harshly. It’s like: “Show me what you got, sucker. I am not very easily impressed.” By the way, that is not the brother in that surreal dinner scene – because he is dead. It is a figment of Slausen’s imagination – it is not real; it doesn’t really happen; it is a dream…it is Eileen, in fact, as far as Slausen is concerned.

TEOS: In a movie like Tourist Trap, especially after a point, I feel like anything could happen, and I stop questioning what I'm seeing and I just kind of hold on for the ride.  I guess that's the beauty of Tourist Trap. About that dinner scene, I need to know: How did you manage to concoct such a strange exchange between these characters? Were you channeling "Abbot and Costello" as you wrote that scene?

DS: This particular exchange just came out almost in whole – as is. Writing generally is very easy for me, but in this case, I think it can be explained this way: the scene is completely organic. Slausen is having a meal with Eileen, who is just a mannequin with Eileen’s face-mask, scarf, and clothes. Slausen has a conversation with her and she responds in Davey’s voice, which is just Slausen slipping deeper and deeper into the abyss of his madness. And at the very end, the lines get crossed (Eileen/Davey gets ahead of the question) and then her head snaps off. It was one of those scenes that came to me in its entirety, and I just had to type it out…the best kind of scene.

TEOS: The character of Slausen possesses incredible superpowers. He has the ability to move objects with his mind, and because of this can seemingly bring mannequins and dolls to life. Yet, there is absolutely no explanation for this. Why did you choose to leave his abilities vague and unexplained?

DS: The power of telekinesis was suggested by Charlie [Band, producer]. It was his only contribution to the script, which was complete when we submitted it to him. At first, I really didn’t like the idea, because the story was entirely psychological. Giving Slausen the power of telekinesis actually explained a lot of the occurrences – not directly, but just vaguely. The audience may assume that the mannequins move because Slausen is making them move with his T-powers. I thought I was already explaining too much, so I certainly didn’t want to explain how or why he had this power. The historical figures in his museum (Custer, Sitting Bull, et al.) are automatons; they are mechanical creations and move because of science. If [audiences] think they move because Slausen is making them move with his telekinetic powers, that’s okay with me.

TEOS: Tell me about the film's musical score.

DS: How Pino Donaggio became the composer was just a stroke of luck. I was asked to be an interpreter by Joe Dante, who had hired Pino Donaggio to score Piranha. Pino did not speak English, so Pino and I spoke Spanish. After we finished spotting the film I asked Pino if he would score Tourist Trap. We screened it for him and he agreed. Charlie Band had spent much of his childhood in Italy, so he was fluent in Italian and he and Pino hit it off immediately. Somehow Charlie came up with another $50,000 dollars for Pino’s fee and the entire orchestral score, which was recorded in Rome. The budget rose from $300,000 to $350,000. I learned so much about scoring a movie from Pino.

TEOS: Charles Band has a somewhat divisive reputation in the horror community. You collaborated with him on this and your 1989 film Puppetmaster. How would you describe your working relationship with him?

DS: For me, Charlie was a very good producer to work for, because he left you alone for the most part. And for most of my movies, we had enough money to make a reasonably good movie. He was not an on-set producer at all. He didn’t pay very much, and sometimes it was hard to get paid, but in my case, I always got paid – until I left his employment. He owes me money for Puppetmaster, and when I tried to collect it he took my name off the movie and put his name on it. (He took my "A Film By David Schmoeller" credit off, and put his name above the title: Charles Band’s Puppetmaster.) That’s a real shitty thing to do – and very petty and small-minded. He’s starting to get old and I think the business is more of a struggle for him, so he feels the need to crib credits. So be it.

TEOS: I don't suppose you're lucky enough to receive any royalties each time a new Puppetmaster film is made, are you? I believe the series is hovering somewhere around ten entries, now...  

DS: Yes, that’s the money he owes me – Puppetmaster residuals.

TEOS: One could argue that the 1970s produced some of the best genre films to date, and Tourist Trap was released at the end of its run in 1979. What was it about this ten-year period that resulted in films like The Exorcist, Halloween, Phantasm, The Texas Chain Saw Massacre, and the many more?

DS: The '70s also produced some of the most original mainstream movies, too, so it wasn’t just genre films. I think it mostly has to do with the fact that filmmaking was considered more of a director’s domain, and the writers and directors were not interfered with as much as they were in later decades, when the cost of movies started to rise considerably. While The Exorcist was a big studio movie, William Friedkin was just coming off winning an Oscar for directing The French Connection, so he had almost complete control. There is a very funny story of how these three studio executives were assigned to The Exorcist and when Friedkin was way over schedule and way over budget, one of these executives finally had had enough. So he picked up the phone and called Friedkin on the set and said, “Billy, this has just got to stop, it has to stop. And if it doesn’t, well, I’m just going to have to pull the plug.” And Friedkin said, “Okay, go ahead – pull the plug.” And the executive quickly backtracked and said, “Well, Billy, I don’t mean I would REALLY pull the plug.” At which point, Friedkin hung up. Back at the executive’s office, when HE hung up, one of the other executives said, “That was the most expensive phone call you have ever made.”

Halloween was an auteur film, made by Carpenter with no interference from anyone. Same with Phantasm and Texas Chain Saw. The budget [of The Exorcist] greatly eclipsed the budgets of these other three films, but they were all directed by extremely talented filmmakers.

TEOS: Shout Factory is revisiting another of your earlier films, Crawlspace, for a special edition re-release. Has there been talk about seeing a similar release for Tourist Trap?

DS: Catacombs was released by Shout Factory in October with a new director commentary, and Crawlspace comes out on blu-ray in December with a director’s commentary. I was contacted by the person doing the new blu-ray of Tourist Trap to do a new commentary of the movie, but I haven’t heard back from him, so I suspect Charles Band killed the idea (even though I was perfectly happy to pay for the recording myself). It is supposed to come out in December.

TEOS: Now that Little Monsters*, your newest feature, is available on video, do you have anything next in the pipeline that fans can look forward to?  

DS: Yes, I am writing a new horror film called Dead Angels (from the children’s refrain: “When angels fail, they go to hell.”) It’s about dead people whose souls are stuck in the netherworld until they can track down and kill the person who killed them in the first place. It deals with who is really the living dead among us and how many times do you have to kill someone before they stay dead. It’s horror film noir.

 

* David Schmoeller's new film, Little Monsters, is currently available on DVD here, and the director's early short films are available on DVD directly from his official website. 

Follow David at his website and Facebook. 

THE BOY WITH NO SHADOW: AN INTERVIEW WITH LONESOME WYATT

Lonesome Wyatt and The Holy Spooks are no stranger to The End of Summer. Having featured this delightfully dark musical act three times before, finding a new way to describe it/him/them is a fool’s errand. Fact is, I could very well use the whole “so and so meets the guy from this thing” and dozens of other lazy comparisons ad nauseum, but all I really need to say is this: Listen for yourself, because if you're not, I feel sorry for you. Though he made a name for himself with Those Poor Bastards, an act that infuses country and Americana with goth and darkness, it is as Lonesome Wyatt and The Holy Spooks where something clicked with me in a way that it feels legitimately special. Add a scratchy layer of vinyl grain and Wyatt’s music could easily sound as if it were plucked right out of the 1970s, where society seemed suddenly enamored with death, evil, and the very real possibility of the devil walking amongst us.

While on a break from touring, Wyatt was kind enough to answer a few questions about his newest release – “Halloween is Here” – his history with/as The Spooks, and his life as a seeker/celebrator of the morbid.

---

TEOS: I’ve listened to enough of your music (and read your first Edgar Switchblade misadventure) to recognize a fellow dark-side dwelling miscreant when I see one. What draws you to this odder road less traveled?

I suppose it all goes back to having a very secluded childhood with all those spooky cornfields rustling all the time. Too much solitude can make a fella a little strange.

TEOS: Much of your music is really story-driven – something Johnny Cash was always known for – so I hear a lot of his approach, including the dark humor, in your work. I also hear occasional glimpses of Timber Timbre and Tom Waits. 

Who else would you cite as an inspiration in your musical life? Was there a particular singer or songwriter, author, or perhaps filmmaker you may have discovered at a young age that made you realize this was what you wanted to do?

Growing up, I would say Scary Stories To Tell In The Dark and Gremlins were mostly to blame. I also remember getting a record called "Trick or Treat" by Oscar Brand from the library and that made a big impression on me. The songs were pretty goofy, but for some reason they really sent my tiny brain spinning.

Later on, Johnny Cash's "American Recordings," and Nick Cave's "Murder Ballads" showed me the mighty power of music.

TEOS: I can certainly appreciate your appreciation for the dark side and the supernatural. I've always been very intrigued by the paranormal. Tell me: how much of it do you believe? Do you believe in the existence of ghosts – in things beyond our understanding?

Well, there are sounds beyond our range of hearing and sights beyond our range of seeing, so who knows what we're missing? Maybe we're surrounded by horrible monsters and dead people. I sure hope so. I believe anything is possible and impossible.

TEOS: You are constantly trying new things, yet wanting to remain in this dark playground where your imagination is at its most potent. At this point in your career, are you consistently trying to reach new fans, or satisfying the ones you’ve already earned?

I try not to think too much about reaching new fans or how the project will be received or any of that kind of stuff. Of course I hope some people will enjoy it, but it's beyond my control. It just cripples you and fills you with anxiety if you worry about that. I try to keep things pure and create whatever idea I become excited about at the time. Hopefully it connects with someone.

TEOS: Moving onto "Halloween is Here"... I admit, and I say this more as a fan and less as a critic, I was a little disappointed the first time I listened to the new album.  I was anticipating something beautiful, dark, and more musically driven like “Ghost Ballads” – one of the new tracks, “Such a Fright,” for instance, is along the lines of what I was expecting – but it was probably halfway through my second listen that I “got” it – and loved it – and I realized you had a different goal: Instead of just doing a flat-out musical record, create this kind of old-school Halloween party ambience with flamboyant lyrics and quirky descriptions. And you really do nail that idea, right down to the perfectly vintage-looking album artwork. What other templates were you following when you were putting together this album? Who were you honoring, if anyone in particular?

That's always the problem when listening to a new album by someone whose last album you enjoyed. Your brain gets thrown in a loop when it's different than you expected. I just didn't think having this album really serious and quiet would make any sense. I see Halloween as more of a party for horrible things than a somber or sad experience. The whole thing is a tribute to all those obscure Halloween albums from the 50's-80's. No one makes this kind of stuff anymore, so I thought it was important to try to carry on the tradition. Hopefully it's not too insulting to those mysterious gods of the past.


TEOS: Your previous album as Lonesome Wyatt and The Holy Spooks, “Ghost Ballads,” is likely your most story-driven yet. The first track, “The Golden Rule,” doesn’t really get lost in poetic hyperbole – it’s a rather straightforward ghost story set to some pretty beautifully dark music. Listening to "Halloween is Here," however, it's evident you really didn't take this same approach.

Not really. This album is very different from Ghost Ballads. I think the only similar song would be "Such a Fright." Otherwise, it's not really as soft or pretty sounding. I was inspired by old Halloween records and wanted to try to capture that strange energy a lot of them have. There's quite a bit of group singing on this one. It sounds like a gang of deformed monsters. The rest of the album has stories, which were inspired by great albums like "Scary Spooky Stories."  It's really for all ages of creeps.

It was also important to me to make it sound and look handcrafted and not mass-produced. We printed all of the record and CD jackets on vintage style chipboard paper and I hand numbered them. The illustration by Strange Fortune Design Co. is just perfect and creepily vintage. I really hate slick, glossy things.

TEOS: Compared to previous Lonesome Wyatt releases, like “Heartsick,” for example, “Halloween is Here” has a sillier tone – not just in the content, but in the several songs where your vocals are accompanied by that sea of monstrous sounding voices you mentioned earlier. And on top of that, you add stories about werewolves suffering from depression, or kleptomaniac ghosts (from... Indiana). While the new album still has that patented Lonesome Wyatt darkness, it feels like you said, “Let’s just have some fun.” Was this a conscious choice? And if so, how early on in the realization did you know you just wanted to have a blast?

I just don't like doing the same album over and over. Ghost Ballads pretty much covered the gloomy horror, so I thought this one should me more rowdy and unhinged. It was my goal to create something that sounded like a bunch of crazy creatures having a celebration. I like to think of it as mentally ill rather than fun. Fun has some bad connotations.

TEOS: Probably my favorite aspect to the album is this kind of purposely implied feel that it’s something children would listen to at a party, but then at the same time some of the stories are pretty gruesome – especially “The Giant Fist.” So in a sense it sort of captures our fond recollections of Halloween (which more often than not stem back to our youth) and marries it to this kind of disturbing but quirky storyscape. It’s tough to explain but I think it makes the album that much more special – sort of a wolf in sheep’s clothing.

I'm glad you noticed that, pal. This is just the way I see Halloween. I think it should be both exciting and ridiculous, but also surreal and frightening. When you look at old Halloween decorations many of them were unnerving and disturbing, but now everything is smiling and cute. I don't like that at all. We need to return this holiday back to its peculiar roots. It should be full of creepy terror and graveyard thrills.

TEOS: What is it about October 31st that compelled you to construct an entire concept album around it?

I have always loved that odd Autumn feeling that blows through the air around Halloween. Everything is filled with death and wonder.

TEOS: When can we expect to see the first music video based on one of your Halloween songs? And if so, do you know which song you’ll be using?

Unfortunately, I don't think we'll have time for a music video with this one. There are just too many projects going on. It's a real shame. I think I have to slow down on all this stuff at some point.

TEOS: What does a typical Halloween night look for Lonesome Wyatt?

It's not a very pretty sight. I usually just stay at home and watch some horror movies on VHS and listen to Halloween records. As with most things, the idea of Halloween is much better than the stinking reality.

---

I thank Lonesome Wyatt for taking the time to discuss his new descent into madness, and I’m especially thankful for him having used Halloween as its backdrop. It’s always been my favorite night of the year for a multitude of reasons, but it seems that Halloween seems to be less celebrated and feel less important year after year. It’s starting to feel like those people who care about it belong to this very unpopular club that doesn’t have all that many members. So, my genuine thanks to LW for trying to contribute to it in some way in an effort to keep it going and keep people enthusiastic.

“Halloween is Here” can be purchased on vinyl (no it can't - sold out!), CD, and digital download directly at the official Lonesome Wyatt site, as well as your usual online retailers.

AN INTERVIEW WITH DAVID SCHMOELLER – PART 1: LITTLE MONSTERS

Writer/director David Schmoeller might not be a household name—maybe not even for your most prolific of horror fans—but he’s given us two undeniable minor horror classics: 1979’s Tourist Trap and 1989’s Puppet Master (which would go on to spawn nine(!) sequels). Except for his steady creation of short films, he has been rather quiet. After thirteen years, Schmoeller has returned with a very different kind of horror story...one sadly based on a true story. David was gracious enough to participate in an interview—we also spoke about Tourist Trap in a separate interview—in which he dishes on his newest independent feature, life imitating art, Fox News, and much more.

 

TEOS: Little Monsters (review here) is based on a true story – more specifically the 1993 James Bulger murder of England. What was it about this event that drew you to turning it into a film? Given the event happened twenty years ago, was this idea slowly simmering in your mind over time, or did you only somewhat recently read about it?

SCHMOELLER: I clearly remember seeing the news of the Bulger murder in L.A. when it happened. The news media had B/W video images of the kidnapping by the two ten-year-old suspects from the many shopping mall cameras. It was a big, international news story. And the nature of the killing was very disturbing. While I followed the story, it did not immediately become an idea for a movie. A few years later, while I was a William Randolph Hearst fellow at the University of Texas at Austin, I started doing research on the story. I think when the murderers were released from prison when they turned 18, the story made the news again. I think this was when I started to become more interested in the story as a possible film idea.

TEOS: The lives of the real murderers seem to closely parallel those of your film versions during the murder, the trial, and their subsequent release. At what point did you let your artistic creativity take over and present a "what-if" scenario?

SCHMOELLER: Little Monsters is completely fictional, although inspired by the actual event. What made it an interesting story for me was that when the two boys, teenagers when released…they passed laws in England that made it illegal for anyone to reveal the new identities or locations of the child killers. They could be living right next door and no one would know. This was another reason the story was so compelling – both in real life and in my growing story line. What happened to the boys after they were released, how did they feel about their crime, would they be able to cope with what they had done (did they even feel bad about what they had done?), and would they be able to live out their lives with new identities? All these issues where completely unknown, so, I had to fictionalize those things. In 2002, I took a group of UNLV film students to the Fringe Festival in Scotland, and since I was going to be there a month, I decided to write the screenplay, which then was called Don’t Look Back. I did a few rewrites, which took me the next year or so, then I tried to have my agent set it up as a film for me to direct, but it was considered too dark for Hollywood. In 2008, I produced (and personally financed) a feature film called Thor At The Bus Stop, which was written and directed by Mike and Jerry Thompson. It’s a very good quirky comedy available at Amazon, iTunes, Vudu, etc. When I realized I actually had the means to make a feature film, I decided to make Little Monsters – and direct it. While I had written and directed a dozen or so short films since I left Hollywood, I had not directed a feature film in 13 years. So, it was exciting. 

TEOS: What was it about the Hollywood system that you felt you needed or wanted to leave it behind?

SCHMOELLER: I have no problem with the Hollywood system. I liked working in Hollywood (mostly – every once in a while you get stuck with an asshole, but that happens in all walks of life). My decision to leave Hollywood for academia was strictly a financial decision. I am better paid, have more job security, and am more respected in academia than I was working in Hollywood.

TEOS: Speaking as vaguely as possible to avoid spoiling a turning point in the film, there's one particular scene where one of the murderers has a heated confrontation with his mother, who shows nothing but disdain for him. She's presented as a rather hard woman leading up to this and the film suggests she is a potential explanation for her son's dangerous behavior. Do you believe that the behavior of a child directly reflects his or her upbringing? Or do you believe we as individuals all have the strength to overcome such an upbringing and still become meaningful contributors to society?

SCHMOELLER: At one point in the screen-writing process, I had a character say: “It’s always the mother's fault.” I believe parents can and do play a major role in how their kids turn out. But there is no common rule. You can have awful parents and turn out OK, or you can have great parents and not turn out so good. My own mother was an extraordinary beauty as a child and a stunning beauty as an adult. Because her beauty was how she was defined, she was a spoiled child and a spoiled adult. She really didn’t mature as she grew into adulthood, even though she was very smart – as smart as she was beautiful. I think her beauty was a huge burden to her as an adult. So, even though she tried, she was really not a good parent. This was before the women’s movement of the '60s, so, my stepfather expected her to be a stay-at-home housewife. Eventually she became a Valium-wife and spent much of my childhood in bed. And when she wasn’t sleeping, she was bored, and sometimes angry. Not anything like the mother in Little Monsters, but still, not a very good mother. We called her “our crummy mother.” I think my older brother suffered much more damage than I did because he was always angry at our crummy mother and our absent stepfather, so he acted out. It was all way too much drama for me as a child, so I just kept to myself. When my older brother went off to college, I knew I would not survive my mother alone, so I left home at 15. And I quickly learned how to be very independent, which helped me greatly in life – especially when I went to Hollywood in the 1970s.

TEOS: In doing my own research into the James Bulger case, I found that, of all things, Child's Play 3 was cited as a negative influence in the lives of the two killers, as those involved in the case proved that the kids had not only watched the film in the months leading up to the murder, but also supposedly detected an instance in which they "imitated" a specific scene. Being that you, as a filmmaker, have dabbled in the "killer doll" sub-genre, and worked largely in the horror genre in general, do you ever feel any responsibility as filmmaker for the content you put out there for public? Do you feel it has the power to influence?

SCHMOELLER: This is a frequent charge, especially when there is a particularly horrendous killing by younger killers – kids or teenagers: “They must have been influenced by a horror film.” People want a way to explain a horrible event, and sometimes the answer is to blame it on a film, and sometimes it’s to blame a parent. I understand this. It is difficult to explain senseless killing. I DO think movies can have a very powerful effect on viewers, especially children. And I do not think children should be allowed to watch inappropriate films. One of the better examples comes from my own work. Tourist Trap was given an inappropriate rating – it was given a PG instead of an R. We were shocked when we received this rating from the Ratings Board. I had not let my own son see the movie – he was 8 or 9 – because I thought it was just too intense and too disturbing. And that tame rating hurt our theatrical release. Who wants to see a tame horror film? Because of that rating, however, it could play on afternoon television. And it’s the reason most responsible for Tourist Trap having a second life, and to have grown into cult status. All those traumatized children who saw it on afternoon TV. I can’t tell you how many people have said to me: “I saw Tourist Trap on TV when I was seven and it scared me to death.” What safer thing for a parent to say to a young child on a Saturday afternoon? “Billy, Mom and Dad are busy – why don’t you go watch TV with your sister…?” [sarcastic smile]

In terms of the responsibility of the filmmaker? Movies are an art form. The responsibility of the filmmaker is to make a good, compelling film. There are very few restrictions (there are certain legal restrictions: you can’t shoot a snuff film; you can’t shoot child pornography, etc.). Wes Craven has spoken fairly articulately about “violence in cinema.” The filmmakers of the ‘70s were informed in part by the war in Vietnam that we watched on the nightly news. Craven maintains that nothing he has ever put on film is as violent as the images we saw on TV every night during that war.

TEOS: The two young actors who played James Landers and Carl Withers were especially good and playing very challenging roles. Where did you find them? What was the casting process like?

SCHMOELLER: Both Ryan LaBeouf and Charles Cantrell were/are students of mine. I had directed Charles in a short film called Ha, Ha, Horror, so I had [previously] worked with him. Ryan is an all-around talent – writer/director and actor – only I had only seen him in comedies. But, he has a nice quality and an intelligence as a person; I just thought he had this special talent that would show up on the screen. They both work completely differently as actors. Charles likes to talk about the scene or his character, has lots of questions, and approaches his work with a “method” process. Ryan just shows up in character and uses his intelligence to play the part. It was such a joy to work with both of them. I also think their performances were greatly helped by Ben Zuk, my editor.

TEOS: Both the editing and the intimate nature of the narrative lent a specific realism to the film, including your use of sit-down interviews. The realistic approach I think is the film's biggest selling point. As you were writing, did you ever have to scale it back? Did you ever veer too far into over-the-top territory, perhaps without realizing it?

SCHMOELLER: The early versions of the story had many more of the sit-down interviews – so much so that they dominated the story. The central narrative in Little Monsters, the story of the two boys, was eclipsed by the detailed facts of the story. I think what you are asking me about is the (realistic) tone of the film. We worked hard on the tone, but there may be some side segments that don’t work for some viewers as well as others (like the TV Tabloid personality). I don’t think G. Gordon is over-the-top, even though I think he is clearly ridiculous (just like I think Glenn Beck is ridiculous), and we did worry he might be mess with our tone. At the same time, I know from my horror film experience that you need to allow the audience to breathe, even laugh out loud from time to time.

As I tell my students, when you make a film, it’s just as likely that you will fail as it is you will succeed.

TEOS: What was the production process like? How long was the shoot?

SCHMOELLER: May May Luong, my producing partner and I, both have day jobs. I am a university professor and May May works in production, so we shot Little Monsters mostly on the weekends over a 3-4 month period. Everyone who worked on the film were either students, who had classes during the week, or they had day jobs. It’s not the best way to shoot a film, but it does work. We shot the film over 24 days, although not all days were full days.

TEOS: Your portrayal of the media isn't exactly flattering, but the conservative talk show host, who actually laughs along with a caller threatening to discover the boys' secret identities and commit violence upon them, is especially obnoxious. How seriously do you personally take the role of media in our society, and do you think it has the potential to be harmful?

SCHMOELLER: I think certain segments of the media, like certain segments of our political system, are really shameful. And when you have some of the more scandalous crimes, such as the recent Jody Arias trial, the Menendez Brothers murder, the JonBenét Ramsey murder, or OJ – pick your famous killing – the media doesn’t always look so good. Is it the public that craves these stories, or the media who benefits from the high ratings? It’s both. I think some of the characters on Fox News (cable) are especially destructive to our society. I think they are flame-throwers for the big salaries they can make by yelling “fire.” And it seems the more outrageous, the more money they make. Glenn Beck, Bill O’Reilly, Rupert Murdoch, Rush Limbaugh – these are media personalities and entrepreneurs, not newsmen. It is called “hate radio” because they are hateful people and they teach listeners to be angry and that it is OK to be hateful and outraged. I have students – not many, but more than I would like to have – who feel entitled to express their anger and outrage, and they do so at inappropriate times and places. They have been damaged by these media personalities, not educated.

TEOS: Your use of sit-down interviews does an effective job of making the story feel as real as possible. Did you write these interviews from scratch, or were they based on actual interviews given at the time of the James Bulger murder?

SCHMOELLER: I did a lot of research for Little Monsters over the years. Certainly, the breadth of players – the large number of people coming from all walks of life – came out of that research. The Clarence Gilyard speech (the criminologist at trial) where he talks about how many people are affected by a single act of violence…not the words themselves, but the essence of that comment, came out of that research.

TEOS: Audience reaction (or maybe I should clarify non-audience reaction) has condemned the film; they've said things like "How dare they turn this story into a film!" and "What would the families think?" Considering we had a film about 9/11 made five years following the actual event, or a film about killing Osama Bin Laden only one year following, what is it about this particular story that have made people cry foul? Is it because the violence is regulated to children this time, as opposed to adults like it normally is?

SCHMOELLER: I think you are talking about internet comments to postings about Little Monsters; audience reactions at the screenings [I’ve attended] have been overwhelmingly positive. I think a person who lives in England and lived through the media experience of the Bulger murder, may have a different reaction to the film than someone who doesn’t have that firsthand experience.

And the issue of children killing children can be particularly disturbing to a lot of people. A lot of dog-lovers hated Amores Perros because of the brutal dog fighting scenes, despite the fact that it was an excellent movie.

My mother, who was informed by the zeitgeist of World War II, thought Saving Private Ryan was an awful movie. What she was really reacting to was the opening Normandy beach-landing scene, which was so graphic and so realistic. To her, World War II (actually, I am referring to immediately after the war) was really a romantic event; she was young and beautiful when she met and married my stepfather, who was a returning WWII bomber pilot and looked handsome in his uniform. He never talked to her about the war – AT ALL, ever – and so seeing Saving Private Ryan all those years later shattered her romantic notion of what was probably the best time of her life.

Movies are not for everyone. In fact, they are probably for only a very small audience, especially these days when there are so many other things fighting for people’s attention. I am making something for a very small segment of the world. And I am sure there will be some vocal haters. As Carl Gunther in Crawlspace would say: “So be it.” All I can do is make the best movie I can and hope at least a few people appreciate it.

TEOS: If you could say anything to the real murderers of James Bulger, what would you tell them?

SCHMOELLER: “Did I get any of it right in my movie?”

Little Monsters is now streaming via Amazon Prime.

ABRAHAM LINCOLN VS. ZOMBIES: AN INTERVIEW WITH CHRISTOPHER MARRONE

Abraham Lincoln vs. Zombies (review here) is just one of the latest films released by the infamously prolific Asylum Films. While the film isn't perfect, it is among the mini studio's best releases in their ten year history. 

The film, whose release preempts that of the bigger-budgeted Abraham Lincoln: Vampire Hunter by almost a month, is a heavily inspired tale of our sixteenth president forced to fight legions of the undead. In this case, the film replaces one mythical creature with another – from vampires to zombies – who Lincoln decapitates with great vengeance and furious anger. It stars fan favorite Bill Oberst, Jr. in the title role, as well as a supporting cast of relative unknowns. Among the cast is Christopher Marrone, who sports a caterpillar mustache and Civil War-era garb to play Pat Garrett, historically famous for the assassination of outlaw William H. Bonney, better known as Billy the Kid. Chris was nice enough to share his experiences on the film, as well as his career, his views on the current state of horror, and what he has lined up in the future.

---

Was there a turning point in your life where you knew you wanted to be an actor? Was it a particular film or filmmaker? Or did you simply always have that desire?

I don’t know if there was a particular turning point exactly, because I was raised by two former actors. My father and mother met in New York while doing an off-Broadway play. I grew up with stories from both of them and knew at a young age that I wanted to be involved with the film business.

Were your parents involved in anything that might sound familiar to our readers? Did they take part in features or television, or did they strictly perform on the stage?

My mother was mainly a theater actor, her true love was the stage. I know she auditioned for film and TV, but with her voice and ability, she was meant for [the stage]. My father was also a theater actor, but he began to make his way into film and television. He was a big guy and worked as a security specialist for film executives and the talent, so it put him right in front of the people you'd want to meet. Being a talented actor and making healthy friendships with these people led to him working pretty consistently within TV/film. Some notable projects are Woody Allen's segment for New York Stories, "Miami Vice," and Men of Respect (starring John Turturro).

Because both of your parents are actors, how often does it turn into acting school at home? Do you all compare notes and swap advice? Have you ever dared critique a performance by either of them?

My parents were great about my upbringing when it came to the entertainment business, so it didn't turn into an acting school so much, but whenever we watched films and TV shows, they shared their input and commentary on the stronger talent in the project. I don't know if they knew at the time, but I believe subconsciously I was taking notes on who they talked about, and why they came across better on screen. I don't think that thought has ever crossed my mind until you brought it up.

Growing up, I was still able to see them perform on stage for some of my youth, and from what I remember they did a damn good job.

What was your first professional acting experience?

What I consider to be my FIRST professional experience was working on “Field of Vision” for NBC. I played a high school football player, which was amusing to me, because I had just gotten done playing college football… [and now I was] portraying a high school football player on screen.

You have spent time on both television and feature film productions. What would you say is the difference between the two, if any?

I feel like the difference is more with time. With television, usually one episode is 7-10 days of shooting, so there is this sense of pressure when the week is coming to an end. They obviously map it out in scheduling to work, but it still doesn't stop that feeling [of pressure]. With film, it’s not as “turn and burn,” so to speak, but more of a longer effort…but there's still a sense of urgency, as you only have the window of time to get what you can get during principal photography. I’m a fan of both styles of production, so if it’s strictly film for myself here on out I am fine with that, and if I land a re-occurring role on a TV show, I will be just as happy.

How did you come to be involved with The Asylum’s Abraham Lincoln vs. Zombies?

Darla Clarkson. That is how. Darla is a local casting director here in Atlanta. I had originally submitted for a film she was involved with about a month before Lincoln vs. Zombies came along. Darla and I met, which went really well, and she told me she would keep me at top of her list of actors. She was offered casting director by The Asylum for Lincoln vs. Zombies and then my phone rang. I wouldn’t have had the opportunity if it were not for her. Granted, I still had to audition, but for a casting director to be a fan of yours, it truly goes a long way in this business.

Over the years, The Asylum has developed a divisive, love-them-or-hate-them reputation across the Internet, inspired by their history of releasing what’s become known as “mockbusters.” Were you aware of this reputation before becoming involved with the film? If so, did that make you hesitant at all to join the production?

Prior to doing Lincoln vs. Zombies, I wasn’t fully aware of who The Asylum was...until I looked into the films they had done in the past; then I knew. I was not as much hesitant, but there was more of a “let me stop and think” mentality, as one should have with any project. I called up my family, I called up my mentor (Patrick 'P-nut' Monroe), and I called my agency. I wanted to take the role immediately, but knew I needed to think it out no matter what. Needless to say, I was happy with the decision I made, and am happy with how the film turned out.

How much research did you perform for your role as Pat Garrett, known as assassinating the infamous outlaw Billy the Kid? Did you learn anything about him that surprised you?

I did look into Pat Garrett the moment I found out I got the role. I had about a week prior to filming to research him. Much of the Pat Garrett we know is as a bad-ass lawman, and for his killing of Billy the Kid. That really allowed me to portray him in my own way – because I was a younger Pat Garrett – and not exactly emulate him based on history, or other actors who have played him, so I really enjoyed that. I did find pictures of a young Pat Garrett and I seriously believe that man had that mustache even when he left the womb.

What was it like to work with Bill Oberst Jr., who plays Lincoln in the film?

Bill Oberst, Jr. is an amazing actor, person, and a friend. The first day of filming with Bill was the scene with Garret and Lincoln’s “walk & talk.” We rehearsed the scene outside the room we were to film in, and the moment we got done rehearsing, the first thing out of his mouth was a compliment of my acting abilities. I was really humbled by that moment and he went over a few tips that have helped his performances come across a lot stronger, which I immediately made note of. I enjoyed every day on set with Bill and really hope to work with him again in the future.

In a recent interview with Oberst, Jr., he explained his approach to the role, in that Lincoln, when performed correctly, is and always will be Lincoln. Whether Lincoln’s on the moon, or wherever else, an actor must approach him as if he is the real Lincoln finding himself in an outlandish situation. He said: “I used to tour with first-person stage portrayals; Jesus Of Nazareth, Mark Twain, JFK… sometimes I’d be in a gym; sometimes on a huge stage; sometimes in a community center. But if the character is present, the historical anomalies don’t matter.” For this film, the Lincoln that history has always held was plucked down into this situation and we’re observing how Lincoln would have responded—in this case, to the walking dead. Was this mindframe something you experienced yourself when working alongside Oberst, Jr., and was this also something that made its way into your own performance?

Bill brought an element to that performance that I feel rubbed off on all of the cast that he shared screen time with. I took it upon myself after Day 1, doing our scene together, to pick his brain and see what wisdom I could gain from him. I made sure not to allow any distractions cloud my performance as much as I could. I am a huge gamer so working on Lincoln vs. Zombies was like a new land, in an RPG, and I walked away with a few points to add to my "Skill Tree of Acting Abilities."

How did you and the cast/crew approach the film, knowing it had been largely inspired by the better-known Abraham Lincoln: Vampire Hunter, which releases this month?

The cast bonded quickly and knew we wanted to achieve something different for this film. The ability to compete with a multi-million dollar film was just not possible with the budget we had, so we knew not to approach it as a competition. Instead, the approach I felt on set from the cast was a “co-existing” mentality with Abraham Lincoln: Vampire Hunter. It’s like a heavyweight and a middleweight within the world of fighting—those two should never fight each other; yet, they are both still fighters, so they treat each other with that type of co-existing respect. That is, in my opinion, how these two films should be looked at: we fight in the same ring and fight the same fight…we just don't fight each other. So, let’s not say one is better than the other, but let’s say they both put up a great fight and deserve respect.

What was your overall experience on the film?

I really enjoyed working this movie and believe that doors will open for all of us involved. I made some life-long friends off this set and met some people who were able to share wisdom that I plan to utilize as I move forward with my career.

Was there ever a moment on set where you just kind of took in all your surroundings and laughed to yourself at the kind of movie you were making? If so, what was it that you saw, or heard, or experienced that made you realize the oddball movie you were making? 

There was that moment, yes. I don't believe the scene made it into the final cut, but there was a scene being filmed where Lincoln beheads a child zombie, and at that moment I was like, "That just happened." Then a couple days after that, one of the couples playing some zombies had their one-year-old with them. They actually asked if they could make their baby a zombie and have it crawling after Lincoln. This all happened in the make-up room, which I was in, and [this idea] was being considered. In the back of my mind I formulated this zombie-baby crawling after Lincoln with a finger in its mouth. I believe the zombie baby idea was considered, but ultimately not used. I do think about how funny that would have been to see on film.

Would you consider yourself a fan of horror? If so, what are your favorites?

I am very much a fan of horror films. I always find myself watching a horror film frequently throughout the week right before I go to bed. Some of my favorites would have to be Insidious, Saw, Fire in the Sky, The Thing, Jaws, The Ring, and there are many more to go along with that list.

Are there any particular “new” horror filmmakers you’re especially enthusiastic about?

I am a fan of James Wan and the horror films he has made. I am a big fan of Insidious and Saw and what he did with those films. I think he is only getting better at his craft and would love to work with him some time.

I would agree. I think Insidious especially shows that James Wan is capable of providing genuine scares and creating genuinely creepy imagery – it’s so opposite of Saw, which was/is a very visceral and graphic experience. Another filmmaker with a similar agenda is Ti West. He’s a master at slow burn horror, a style that can sometimes turn off more the hardened, Saw-obsessed horror fan. Have you seen his previous films, The Innkeepers, or before that, House of the Devil?

I agree completely. I am all about the build up, as it really adds to the intensity one feels... not knowing when the scares are going to happen. I have not gotten a chance to see The Innkeepers yet, but I remember the trailer very clearly and that trailer freaked me out. Ti West did an amazing job scaring my ass with House of the Devil, so I am sure The Innkeepers will do the same. I know he was involved with The ABCs of Death, which is funny because I participated in a short film that was up for the competition for the letter T. Unfortunately we weren't selected, but was a fun time.

Horror comes in stages. There are always crazes that sustain the genre before the genre strangles it to death. Halloween gave us the slasher craze in the late 70s/ and most of the 80s; Scream gave us the self-aware, WB-starring, pop culture-quoting teens in the 90s; in the new millennium, Saw gave us what has been termed “torture porn,” and the remake craze seems to be finally be dying a slow death. We now seem to be in the very beginning stages of the “historical mash-up.” Do you think this is a stage that will last? If not, what do you think is next for the genre?

Hmm, that is a good question. I think the idea of an "Alternate History" is a great way for people to come up with various renditions of what could have happened. There are plenty of conspiracies out there and unexplained/undocumented time in our world's past, so the door is technically open for interpretation.

I can't put my finger on where I think the genre is moving, but I will say that films like Insidious, The Woman in Black, and I am sure The Innkeepers are showing the industry that we (the audience) can still be scared like they were during the Psycho, Jaws, and Alien days. We don't need all the gore and graphic violence. I think the real effect is when the viewer goes home from the theater and does the "not- look- into- the- room- but- move- their- hand- along- the- wall- to- find- the- light- switch" routine before entering the room. That's the real scare.

In a pre-Internet time twenty years ago, a mini studio like The Asylum would have great difficulty enjoying the kind of modest success it is currently enjoying. Do you think the Internet has changed the face of marketing low budget films? Where do you see the trend of small, grassroots marketing going into the future?

The Internet has, without a doubt, changed the face of marketing for filmmaking. The ability you have today to fund a film through sources like Kickstarter and Indiegogo, as well as promote your idea through Youtube, with the possibility of someone taking notice and wanting to put money into it…it’s phenomenal. I am a fan of the underdog, so when someone has the drive to make a film at a low budget and they are able to pull it off; well, you should, at the very least, applaud them for doing that.

How did you come to be involved in Lawless (formerly The Wettest County in the World)? Could you tell us about your role in the film?

Right before I was to work “Field of Vision,” I was speaking with my dad, getting some advice on what could I do to help myself before going into my first major role. He told me to find some work for any position, if I could, on a major motion picture that was filming in the area. When I saw that Lawless was looking for people – for crew and extras – I decided to send my stuff in to see what it would do. I got called in to work as Tom Hardy’s double, which was great because I was on set each day and able to watch the director, crew, and talent work. Also by working Lawless,  I was able to meet Patrick ‘P-Nut’ Monroe, who has become a very strong influence on my career/life and is like my other big brother.

What was your experience working with director John Hillcoat?

Working as Tom Hardy’s double put me in the same room as John Hillcoat the whole time I was on set. John Hillcoat is an amazing director and knows what he wants out of his scenes. His D.P., Benoit Delhomme, is his P.I.C (Partner In Crime) and they work very well together. Hillcoat would tell Benoit what he wanted, and Benoit would immediately come up with how to make it look beautiful on camera. It was probably one of the best parts of working on that film: watching the both of them work together.

Did you have much interaction with the primary cast?

I did, actually. There seems to be this “unwritten” rule of not talking to the cast while on set—at least that is what I was advised not to do. Now, being raised in a home like I was, there was no such thing as being “starstruck” to me, so when I was around the talent I talked to them; not much else to do when crew is setting up a shot. The cool thing was when they got to find out that I had just gotten done playing football at the University of Georgia, it opened up avenues of communication other than film talk, and knew I was just speaking to them as a normal human being. I felt like I had a very good standing with all of them: Shia LaBeouf is a real cool dude and very funny; his sense of humor is much like mine. Tom Hardy was laid back and easy to speak to, especially when it came to video games. Jason Clarke, who has a thick Australian accent, by the way, did an amazing Southern accent; it was fun to watch him perform. Jessica Chastain was one of the sweetest actresses I have met on a project; completely humble, super talented. She really loved her “Words with Friends” while on set. There was this one actor whose name I wasn’t familiar with at the time – Lew Temple – but once I got to know him while I saw him on set, [I found out] that man is one class act and an extremely down-to-earth guy. It was a pleasure getting to know him.

Did you have any interaction with the film’s screenwriter Nick Cave?

From what I remember, Nick Cave was on set for one of the days I was and he was playing a gangster who was all shot up in a vehicle. There wasn’t much interaction other than that.

What’s next for you?

Next I begin working on a new horror film, Plus One, directed by Dennis Iliadis (the Last House on the Left remake) this month. Ron Ogden, a good friend I made while working on Lincoln vs. Zombies, was also cast as one of the main roles. (That’s definitely going to be another fun time on set.) I have another film, which is about the most lawmen ever killed in the line of duty, with a leading role as Jennings Young, one of the cop killers. Then later this year I will be one of the leads in another horror film, about the spirit of a witch coming back to take her revenge on a town for her gruesome murder. There are some I can’t speak about yet, but once I am free to, I will share, and hopefully some more projects will be added to the rest of the year.

What would you consider your dream job as an actor?

I am a huge Punisher comic book fan, and if one day I got the opportunity to be Frank Castle, I would do it in a heartbeat. Other than that, every day on set is a dream come true.

If you found yourself surrounded by an army of the undead, would you want Lincoln by your side, or is there perhaps another former president who you think could kick some serious ass?

I think Lincoln would hold his own; that man could probably wrestle some of those zombies to death. Honestly, I would love to have Kennedy and Reagan. With their WWII experience and my zombie-video-game experience, we would decimate that zombie horde!

TEOS thanks Chris for his time. Fans can follow him on Facebook and Twitter.

Abraham Lincoln vs. Zombies is now on video from Asylum Films.