About fourteen years ago I was perusing around a local video store that catered to underground, cult and hard to find films on VHS. You see, DVD was just coming into vogue and I hadn’t yet purchased a player, although I did own a pretty hefty laserdisc collection. However, it was on this excursion that I discovered Hugh Gallagher’s 1993 little known gem, “Gorotica”–and I haven’t really been the same since.
The story concerns two bank/jewelry robbers who manage to escape the police from a heist, only for one of them to be mortally wounded in the process. Neil, the one left standing, then meets a young goth girl named Carrie, who in turn makes him a proposition. She’ll allow Neil to crash (and hide) at her apartment if he allows Carrie to have her way with his dead partner. He hesitantly agrees.
What transpires after that is a prolonged nightmare of twists, double crosses and sickening revelations–and I was left speechless by the end.
“Gorotica” runs a quick 60 minutes and is only available on VHS. If you can manage to track it down, it’s well worth it.
Keep in mind though that the budget is practically nonexistent, but that only enhances the sheer insanity of it all.
My interview with filmmaker, Lucky McKee (“May” and “Sick Girl”).
Cameron: Your acclaimed new film, “The Woman,” sounds very ambitious. How did this project come about and what are some of the underlying themes?
Lucky McKee: The Woman came about as a result of a previous film entitled OFFSPRING which was written by Jack Ketchum, directed by Andrew van den Houten and starred Pollyanna McIntosh. I was so impressed with what Polly did in that film it gave me an idea of how to continue the story in an unconventional way. To take the villain of the previous film and turn her into the victim was very interesting to me. So we just went for it. I co-wrote the script and book with Ketchum and Andrew produced with Polly starring yet again.
Cameron: You are known for confronting horror through the eyes of strong female protagonists. Where do you think you get that from? What inspirations do you draw from?
Lucky McKee: I admire women. I’ve known and know many great ones in my life. I work well with actresses. Guess I’m just going with what works. I pull inspiration from anywhere I can get it.
Cameron: Between projects, how do you keep yourself creative? Do you take some time off and then attempt to climb another mountain or are you constantly brainstorming projects awaiting the next one to take off?
Lucky McKee: There’s always tons of stories to tell. It is very hard to readjust between films. It’s easy to finish a script and move on to the next one, but with a film it gets harder and harder for me. I try to put all the collected knowledge I have into any film and when it comes to an end, I have no gas left in the tank. So I start watching a lot of films, reading a lot and just listen to my gut and when it says I’m ready for the next one. One nice thing is that I get to travel with a completed film, and traveling is always a nice way to re-energize the brain. Eventually the traveling gets too tiring and I want the comfort of my cave and that’s when the writing comes.
Cameron: Now that you have made (and acted) in several films, has the process become any easier or are there still difficulties? How do you keep yourself focused?
Lucky McKee: You keep yourself focused by sticking to what you believe in. You have to be insistent, but you also have to be realistic in terms of your resources. As far as I’m concerned, even in the low budget world, there is no such thing as compromise. If you can’t get the ten shots you planned to get that day, then you damn well better come up with two or three shots that are better for the story than your original outlook.
Cameron: What is your creative process like when you are writing? Do you keep rigorous hours or are you more of a stream of consciousness writer? Is the plot entirely mapped out beforehand?
Lucky McKee: It depends on the project. Sometimes I outline and outline, other times I have a vague idea of where I’m going and I feel my way through. Some scripts like ROMAN were written in a matter of days, others takes years.
Cameron: You definitely had yourself a nice one, two punch with “May” and then “Sick Girl.” Did those two great experiences blindside you to the difficulties you would soon find on “The Woods?” Can you discuss some of the challenges you faced on that production and how you learned from it?
Lucky McKee: Well, that’s the order they were released, but I made The Woods right after May. It was just a protracted process with the studio changing hands every other week. The biggest thing I learned is to never abandon you film no matter how hard you’re getting beat up. If hadn’t stayed with The Woods all the way through, it would have been watered down to nothing. There are a lot of flourishes I wish were still in the film and I wish they didn’t cut me short on the special effects needed for the ending, but I did the best I could do for a 27 year old making his first studio film.
Cameron: At the beginning of your film, “May,” it begins with a frightening image of the main character screaming and holding her eye. Was that always how the script began? Or were you (and producers) worried that the initial tone of the first hour would keep away the horror crowd unless you let them know right off the bat that terrible things were going to happen?
Lucky McKee: That moment was discovered in the editing process. Sure, it functions the way you are describing. It’s also a nod to Nirvana. A scream that says, “Hey. I’m here. And life hurts.”
Cameron: What are you like during the editorial process? What are your favorite/least favorite parts about the filmmaking process?
Lucky McKee: I wouldn’t do this job if I had a least favorite part of the process. It’s when the process is over that I feel empty inside. During editing, I fart around on the computer a lot, going over footage, cutting a few scenes myself, but ultimately I find a good cutter such as Zach Passero and tell him what I was thinking when shooting and he puts it together and we go over it together until it feels right.
Cameron: I just have to ask. Your first project, “All Cheerleaders Die” has become legendary? Any chance of it being released on dvd or as a bonus feature to one of your existing films? Perhaps a “May” blu ray?
Lucky McKee: I hope we do release it someday. It’s really fun!
Cameron: Have you decided what your next project is going to be? If so, what is it about?
Lucky McKee: I have decided, but I can’t talk about it! Don’t want to spoil the surprise!
Cameron: Lucky, it’s always wonderful to touch base with you. Good luck with your latest film.
I’m sure you’ve all heard about the test screening process that Hollywood studios engage in to see if a film is “playing” or not… but have you ever actually seen what one of the surveys look like?
Here is the official 1994 test screening survey that Warner Bros. gave to myself (and others) to see how we felt about Oliver Stone’s (still) controversial film, “Natural Born Killers.”
FYI: You will probably have to download the picture in order to zoom in properly. (Oh, and that trailer–pulled one day after debuting in front of “Forrest Gump.”)
The following short story was awarded second place at the 1988 Student-Authored Book Affaire by The Monterey County Reading Association and The Monterey County Office of Education.
Bert and Ernie were getting ready for the going away party for Maria, Bob, Gordon, Susan and Olivia. Their house was such a wreck and they needed to get it cleaned up because the guests would be arriving soon.
After about an hour they finally finished cleaning. Just then the doorbell rang and when Ernie answered it, Grover was there.
“This is going to be some party,” said Grover.
“Yeah,” said Ernie. “We spent all day cleaning this joint up. Would you like something to drink?” Grover walked over to the couch and sat down.
“Gimme a light,” said Grover. Ernie brought him a flashlight.
“No, Bud Light,” clarified Grover. Ernie then went over to the fridge and brought him a can of beer. Grover opened it, chugged it and asked, “Got another one?”
Fifteen minutes later all of the beers were gone and the guests were slowly arriving.
Kermit, Oscar, Cookie Monster, Barkley, Big Bird and The Count were now all present. Then the guests of honor: Maria, Bob, Gordon, Susan and Olivia came. “Glad you could make it,” said Ernie. Everybody then all sat down and started to sing.
Big Bird went up to Maria and said, “I’m sorry Snuffy couldn’t come.”
“Big Bird, do you still believe in him?” asked Maria annoyingly.
“Yes, I do!” yelled Big Bird. He then ran out of the house.
Later that night, Maria, Bob, Gordon, Susan and Olivia left Sesame Street for early retirement.
The next morning, Ernie was in the bathroom brushing his teeth when Big Bird walked in unnoticed. He then took Ernie’s rubber duckie and beat him over the head with it. Ernie fell to the ground, dead. Bert came walking in and when he saw his friend’s lifeless body, he called the police. Big Bird got away.
A half hour later the police came and put Ernie’s body in the ambulance. As The Count strolled down the sidewalk, he caught a glimpse of Ernie and said, “Ha, ha, ha! One dead body! Ha, ha, ha!” He then continued on his walk.
Bert was so sad that his best friend died, he sold everything and moved to the Bahamas.
At Mr. Hooper’s store Cookie Monster, Kermit, Grover and Oscar sat eating Fruit Island Cereal. Just then Mr. Rogers came through the door; riding a twenty foot trolly.
“Boy, this doesn’t look like the Land of Make Believe,” he said.
“Of course not. This is Sesame Street,” replied Grover.
“Oh great!” said Mr. Rogers. “By the way, does anybody know why all those police cars are out front?”
“Our friend died,” answered Kermit.
“I’m sorry.”
“Would you like some breakfast?” asked Grover.
“What do you have?” Mr. Rogers asked back.
“Fruit Islands Cereal,” said Kermit.
“Yes please,” said Mr. Rogers as they proceeded to pour him a bowl. Then after one bite, he declared to his new friends, “Ayuma, ayuma.” Everybody laughed. The day appeared to be getting better.
Meanwhile at his castle, The Count sat watching “Love at First Bite” on television. He, of course, was not aware that Big Bird had slipped in earlier and put high voltage in The Count’s pipe organ. When the movie was over, he went to play the instrument. AS soon as he started, The Count was shocked to death. “Ha, ha, ha! Two dead bodies!” He then fell to the floor dead.
In another part of Sesame Street, Oscar was shopping for food in a garbage truck. Big Bird then came up behind him, took his can and pushed Oscar underneath the garbage. The truck started; Big Bird was driving it to the dump. There, Oscar was dumped into the trash compactor The walls began to move. “Help!!!” yelled Oscar as the walls bashed together. Big Bird just laughed.
Back at Mr. Hooper’s store, Mr. Rogers was on his 2oth bowl of Fruit Islands Cereal. He loved it.
Outside, Cookie Monster was pigging out on his favorite cookies, as usual. Suddenly he fell to the ground. Big Bird just stood watching him die. “Wow. That poison I put in his cookies sure worked fast.”
An hour later, Kermit the Frog was getting ready for his news report on the killer. “Hi Ho, this is Kermit the Frog and today on Sesame Street there is a killer on the loose. He or she has already killed Ernie, Cookie Monster, Oscar and The Count.” Just then Big Bird grabbed the microphone wire and stranged Kermit with it. “And me!” screamed Kermit, before his lifeless body fell to the ground.
Big Bird started walking to Mr. Hooper’s store when Grover came walking by. “Hi, Big Bird,” said Grover.
“Shut your mother, hippie,” said Big Bird. He then grabbed a knife under his feathers and stabbed Grover.
At that moment, Barkley the big dog was shuffling up the street towards the crime scene. Big Bird quickly took his knife and shaved off all the dog’s fur, except a mohawk. Barkley then died of terror when he saw himself in the window of the shop in front of him.
Big Bird headed into Mr. Hooper’s store, where Mr. Rogers was still eating. “Why did you kill all those wonderful people?” asked Mr. Rogers.
“Because nobody ever believed me that Snuffy was real,” replied Big Bird.
“Oh, that’s too bad,” said Mr. Rogers. He then took the automatic egg beater from behind the counter, turned it on and forced it into Big Bird’s stomach. Blood and feathers went all over the place. Big Bird was dead.
You would think Mr. Rogers would now lower his head in remembrance, but no. Instead he just smiled. “That was fun. I think I’ll give up my show on KQED and become a killer.”
He began singing, “It’s such a good feeling to know I’m alive, it’s such a happy feeling that we’re dying inside, and when you ake up ready to say, I’m going to kill somebody today. It’s such a good feeling, a very good feeling to know that I exist, and tomorrow’s new, and I’ll have more killing to do–and if you dare talk about, I’ll kill you.” He then got up and waved to his imaginary friends in TV land. “See you tomorrow. Bye!”
For the next ten years, Mr. Rogers was wanted everywhere for doing everything. The police finally caught him and put him in the Land of Make Believe prison.
Today’s episode of Sesame Street has been brought to you by the letters K, I and my the number, 11.
Rarely has a horror film been deemed the best movie or the worst movie in a director’s emerging career–yet this is what we have here. It isn’t just a simple case of loving or hating it either. The responses literally are “Wow! This is really good and underappreciated” or “This is one of the worst horror films I have ever seen!” For me, I fall into the first crowd. I think “Hostel: Part II” is pretty special.
I didn’t think I would ever say that. Until I saw this film, I really didn’t think much of Eli Roth as a filmmaker. In my humble opinion, I thought both “Cabin Fever” and “Hostel: Part 1” were amateurish (at best)–juvenile exercises in sleaze and bad storytelling.
Don’t get me wrong. I adore his commentaries on the dvds; especially the one he recorded for Troma’s release of “Bloodsucking Freaks.” I mean, anyone who can compare shots from that film to Oliver Stone’s “Nixon” has a special place in my heart. And I know he is very popular. I remember being at a Fangoria Weekend of Horrors a number of years ago, just before “Cabin Fever” got released, and any time his name was mentioned, Danielle Harris (who was sitting next to me) would just hoot and holler for him.
Since then he has really taken his acting career up a notch, most notably in Quentin Tarantino’s “Inglourious Basterds,” as Sgt. Donny Donowitz (aka “The Bear Jew”). Originally created for Adam Sander, Roth came into that film blazing and I think he did a very commendable job.
In between that time though, he wrote and directed “Hostel: Part II.” Now, sequels to successful films are always easy to green light. After all, the title is known and the audience knows what to expect. Sometimes filmmakers use this to their advantage. Others just regurgitate what came before. With this film, Eli Roth was charged by many in the press as just remaking the first film with women and (to tell you the truth) at first glance, they’re not wrong.
However, for my money, “Hostel: Part II” is a much better film in all aspects. For one thing, Roth finally nailed down the tone of his films. In all of his previous projects, the films would move wildly from simply trying too hard to be gross and disgusting to pedestrian frat boy humor–and the tone changes were, to say the least, (put the brakes on) jarring. Here, the shifts are more easily paved.
What else is good about this film? Well, for one thing the characters are better grounded. There actually is a sense of mystery and romance when the girls first arrive. He deals more with the internal struggles of the men who are gearing up to kill these young women–and I find that fascinating.
Some people liked the first film, in which we discovered very little about this operation. Me? This is honestly the film I wanted the first one to be. If a filmmaker is going to introduce something as elaborate as Elite Hunting, I want to know (top to bottom) how it works. With this film, Eli Roth gives it to us. Boy does he. The way in which one character uses the rules to get the upper hand in one scene: priceless.
I also felt the violence in this film was much more controlled and epic, if that is conceivable. In the same film, there is a glorious nod to Elizabeth Bathory as well as a sick joke using Ruggero Deodato, the director of “Cannibal Holocaust.” And it all works.
Also, the way the film ends with one of the most brutally violent comedic jokes in cinema history just makes me think, “Wow.” It certainly takes guts and talent to go there and actually pull it off. With this film, everything just comes together beautifully–showing that the filmmaker has definitely come into his own.
If “Hostel: Part II″ has one drawback, it’s in the opening segment as it clumsily concludes the events of the first picture. We really don’t need the “Friday the 13th: Part 2″ shock opening, especially when it’s handled this strangely.
However, in the month following the film’s premiere, Eli Roth unleashed upon the press (via news outlets and MySpace) after it came out and underperformed. He stated that illegal downloading was responsible and that his film was now being critiqued by the masses from an earlier version. And with the exception of the brilliant trailer he made for “Grindhouse,” he has unfortunately not written or directed a single film since.
I really hope he is able to come back, refreshed from all the positive reviews of his acting performances, and once again, make a great horror film.
A horror film that he himself has always dreamed of making, ever since he was a little kid growing up in Massachusetts. One that would be so tense, so scary, and so gross that the eight year old in him would again throw up.
In the meantime, don’t miss Eli Roth’s “Hostel: Part II.” Whether you like it or hate it, the film is one of a kind.
