As you probably know by now, actor Corey Haim was found dead this morning. And it’s no surprise the cause appears to be an accidental overdose. His drug problems have been well documented and led to a very public flameout a few years ago. To his credit, he spoke openly about his struggles:
“I lived in Los Angeles in the ‘80s, which was not the best place to be. I did cocaine for about a year and a half, then it led to crack. I started on the downers, which were a hell of a lot better than the uppers because I was a nervous wreck. But one led to two, two led to four, four led to eight, until at the end it was about 85 a day—the doctors could not believe I was taking that much.”
But I don’t want to belabor the troubles he had. He’s been an easy target for too long. I want to focus on the good. Corey was an entertaining screen presence who made several enjoyable movies during his career. And while he will never be remembered as a horror actor, I guarantee he’ll always be remembered for two wonderful horror flicks he made back in the ‘80s.
Silver Bullet, released in 1985, was based on a Stephen King book. It’s one of the better adaptations of King’s work and a large part of the credit belongs to Haim. The movie is one of those coming-of-age stories that King does so well. You know, the kind where life-changing events lead the main character to look back and say, “It was never the same after that summer.” Well, the life-changing events in Silver Bullet involve a wheelchair, a werewolf…and Gary Busey. Haim played Marty, a disabled young boy who is the hero of the tale. The role required a lot from Haim and he definitely delivered. He more than held his own in his many scenes with the scenery-chewing Busey, which says a lot about the then 14-year-old Haim’s acting ability.
But I think Joel Schumacher’s The Lost Boys is most likely Haim’s crowning achievement. Released in 1987, this flick is probably responsible for igniting the whole teen vampire movement that resulted in Buffy the Vampire Slayer and Twilight. It was also Haim’s first movie with his close friend Corey Feldman. “The Two Coreys” went on to make another seven films together, as well as star in a depressing reality show. But The Lost Boys finds them in happier times, fighting a coven of teen vampires led by a charismatic Kiefer Sutherland. This flick had everything going for it: a great script, a fantastic supporting cast, exciting set pieces and memorably quotable one-liners (“Death by stereo!”). Haim’s scenes with Feldman and co-star Jason Patric allowed him to demonstrate his boyish charm and deft comic ability, both of which he used to good effect in ‘80s “must-see” flicks such as Dream a Little Dream and License to Drive.
I suppose we all kind of knew how it would end, but that doesn’t make it any less sad. I enjoyed Haim’s movies when I was younger, and when I see them on cable today, I still smile and laugh. And that’s how I’ll always remember Corey Haim. Smiling and laughing.
I know you watched the Academy Awards last Sunday—if only because of Oscar’s salute to horror. Horror! At the Oscars! Sooooo, what did you think? Yeah, me too. I guess it’s kinda sweet that that the Academy acknowledged that horror actually does exist. It’s been a long time since that last occurred. Back in 1974, The Exorcist was nominated for 10 Oscars and won two (Best Sound and Best Adapted Screenplay), but that’s been it. Oh, I know, Silence of the Lambs won Best Picture, Best Actor, Best Actress, Best Director and Best Screenplay in 1992. But that’s not really horror. Close, but not really.
But last Sunday, there was not only acknowledgement, but a grudging respect on display. It was officially admitted (through the pandering teen mouthpieces of Taylor Lautner and a clearly uncomfortable Kristen Stewart) that horror is the biggest moneymaker in films. And if there’s one thing Hollywood respects, it’s making money—they don’t have to be proud of it, but they respect it. It was also pointed out that many big stars made their bones in scary movies. In fact, that’s pretty much tradition at this point. Even Kristen Stewart, before she became KRISTEN STEWART by appearing in the Twilight franchise, was in a pretty decent horror flick called The Messengers.
Anyway, did you like the clip reel of the horror flicks that Oscar chose? It was clearly made for a beginner’s class. Oscar hit a few highlights certainly, but what was up with some of the choices? C’mon, Oscar. Marathon Man? Jaws? Were they added to cover your embarrassment, or did you just want some “real” films to be included? Oh well, it’s nice to even get into the auditorium with the big kids, so I shouldn’t complain. At least Kathryn Bigelow won for The Hurt Locker. We can all fold Near Dark into this win too, right? And Roger Corman, horror maestro and one of the most influential filmmakers in American movie history, won an honorary award! But he wasn’t even allowed to speak. I guess he’s too old. (One thing Hollywood does not even pretend to respect is old age.)
I guess that’s about it. Don’t get me wrong. I’m thrilled horror was given a place at the grownup table this year. I guess I just dream of a time where horror actually gets served some food. And by food, I mean awards. And by awards, I mean respect. And by respect, I mean RESPECT.
In case you’re not hip, the results of the 2009 Cyber-Horror Awards are in and you can find the winners HERE. What? You don’t know what the Cyber-Horror Awards are? Well, allow me to enlighten you.
The Cyber-Horror Awards are the one and only horror film awards voted on exclusively by the online horror blogging/writing community. They are the brainchild of horror blogging guru (and noted bon vivant) B-Sol, keeper of the Vault of Horror, one of the preeminent horror sites out there. He went to a lot of trouble to gather the opinions of the far-reaching and often-clashing online horror community and then sift through them to arrive at the final results. And while I don’t agree with all the winners, they are a fair representation of 2009’s best horror flicks. I got the chance to express my opinion, so I’m not complaining—much. There’s always next year…
The 1971 British “horror” flick Virgin Witch was somewhat notorious in its day. While it was initially rejected by the British Censor, the Greater London Council eventually gave it an X rating. Now, I’m not sure how that would translate into an American rating. Personally, I’ve never been able to figure out the British monetary system, let alone their labyrinthine systems of education and film rating. One thing is for sure, this movie has only one thing on its mind: sex, sex, sex. That’s made abundantly clear in the opening credits, where each name is accompanied by nude women. And though the rest of the flick is somewhat tame by today’s standards, its boldness still feels a little shocking. Funny how that works, isn’t it?
Sisters Christine and Betty (played by real-life sisters Ann and Vicki Michelle) run away to the big city to become models. On the way to London, they get a ride from the conflicted hero-to-be Johnny, who warns them to beware unscrupulous photographers who have only one thing on their mind. This is ironic, because Johnny has the same one thing on his mind. Actually, this is a film where everyone has sex on their mind—especially Sybil Waite (whose name I assume is derived from witch Sybil Leek and the classic Rider-Waite Tarot deck). Sybil is the owner of the modeling agency to which the Christine goes to find work. As soon as the leering Sybil lays eyes on Christine, it’s all she can do keep her tongue in her mouth and her hands to herself. Christine can’t help but notice and plays it for all she can. It quickly becomes obvious that this girl is willing to do whatever (and whoever) it takes to succeed because, as she puts it, she’s a “career girl.” We know something is awry when Sybil immediately sets Christine up on a phony modeling assignment to take place at a countryside manor house called Wychwold (this name should’ve set off some alarms).
When Christine arrives at Wychwold with the innocent Betty in tow, things begin to take off—things like clothes, that is. Before long, she’s making it with a fashion photographer in the woods, much to Sybil’s dismay. Meanwhile, Betty discovers a sinister ritual room in the manor house. Betty also discovers the smarmy owner of the house, Gerald Amberly, who is the high priest of a coven that, coincidentally, is holding a sabbat that very evening. It seems Sybil, who serves as high priestess, has procured Christine to be the sexual component of the ritual. Of course, Christine is thrilled at the prospect. In fact, she’s so thrilled that she asks if she can become a witch too. (Like I said, anything and anybody.) Apparently, Gerald sees great power in Christine (heh) and agrees to “initiate” her immediately.
After a wild ritual with Gerald and a wilder night with Sybil, Christine is nigh unstoppable. Though she became a witch only the night before, Christine awakes with the power of pyrokinesis. But that’s not all. She can also control whomever she chooses, and she chooses pretty much everyone around her. It’s soon clear that Christine is power mad and out to claim Sybil’s role in the coven—but at what price?
Overall, Virgin Witch is a nice looking flick—quite atmospheric and full of the era’s filmmaking artifacts, such as fast zooms and trippy editing. Whether lulling with sophisticated melodies or alarming with atonal wails, the score is very effective in establishing and maintaining mood. For me, the high points of the movie are the two ritual scenes. While the high priest and penitent are humping away on the altar, the rest of the coven starts swaying rhythmically back and forth. But as the altar action heats up, the coven breaks into gyrations that wouldn’t be out of place in a go-go bar. Yes, the hills are alive with the Watusi and the Frug! But even with all the nudity and psychedelic effects, the refined British aura definitely leaks through. Director Ray Austin’s camera lovingly documents stately greens almost as much as it ogles naked women. Leave it to the Brits to try to class up sexploitation.
Essentially, what we have in Virgin Witch is a British witchcraft nudie version of All About Eve filtered through a late ‘60s sensibility. It feels a little like a film that would be made by Hammer Studios’ smuttier cousin. Of course, by this time, with flicks like The Vampire Lovers, Hammer was well on its way to becoming its own smuttier cousin. But Hammer never made anything as salacious as Virgin Witch. Not even close. And I can’t think of a better reason to see it. Can you?
Today, because I’m between “real” pieces, we’re going to play an exciting new game I just invented. It’s called “But Is He Scarier Than…?” Here’s the way it works: I pick a person to be “it,” then I go through a list of other people and ask if “it” is scarier than they are. You readers scoring at home can make your own decisions, but my opinion can be found by hovering over each picture. That’s all there is to it. Hopefully, it’ll be more amusing than it sounds. (In my head, it’s amazingly fun. Now that I see it on “paper,” I’m a tad worried.)
Are you ready to commence to begin to start? Okay, here we go. Today’s “it” is:
Rob Zombie-musician
But is he scarier than:
Iggy Pop
Kiss
Boy George
Adam Lambert
Slipknot
Lady Gaga
The Misfits
Lordi
Marilyn Manson
Sheri Moon Zombie
And last, but not least—Is Rob Zombie-musician scarier than…Rob Zombie-director:
Rob Zombie-director
Whee! What did you think of my waggish schtick? Wasn’t that fun? Are you kidding me? It was boffo, I tells ya! Wasn’t it jovially puckish? Whimsical, yet not twee. You know, more elfish than impish—or, is it more impish than elfish? (I always mix those up.) All right, all right, calm down. Sheesh! I get it. (As the Hollies might say, “it ain’t heavy, it’s just filler.”) There’s a fine line between funny and obnoxious, and as you probably know by now, I have no idea where that line is. (Personally, I don’t think it exists, but I’m constantly assured I’m mistaken.) Hopefully, I’ll have something more substantial (and on topic) for you tomorrow. If you have any suggestions for future installments of this game (such as: Never. Again.), please let me know. You, dear friend, are my muse.
It’s understatement to say Brooke Lemke is a busy lady. She just finished starring as the demented Paige in director Rachel Grubb’s Why Am I in a Box? as well as directing two wonderful short films of her own, Young Eyes and A Broken Family. Last month, I interviewed Rachel, who is also Brooke’s partner in Silent-But-Deadly Productions, their Minnesota-based production company. I was supposed to chat with Brooke at the same time, but she was already at work on another film. Brooke finally slowed down enough for a quick conversation about women in horror, directing vs. producing, and the future of film. And hopefully, she got some sleep too.
Brooke, let’s talk about Silent-But-Deadly Productions. What is SBD’s mission?
This has been growing since day one. Our mission has always been strengthening women in film, but how we’ve gone about it is always changing as we’re always growing. First, it was educating ourselves. Then, it was having crews that we made up primarily of women and creating strong roles for female actors. Now, we’re teaming up with other non-profits in our community to reach out to women. We are no longer just aiming to strengthen women in film. We aim to strengthen women in our communities.
Speaking of community, both of you are very involved in the local filmmaking community. Did Silent-But-Deadly grow out of that?
Yes. We both worked as actresses in the Twin Cities before starting our production company. Since starting the company, we’ve worked with local crews and actors. We aim to always make our films here since there is such a strong film scene and incredible talent.
Do both you and Rachel have specific duties in SBD?
We are both producer/directors on our projects, though we split responsibilities based on our strengths. For example, Rachel is amazing at casting, meals and coordinating. I’m good at budgeting, locations and managing. We also have this relationship where, once we’re on set, one of us is the director and the other one takes on all the producer responsibilities. This allows the one who is directing to not have to worry about the little problems that arise and can stay focused on the acting, the shots and the story.
What have y’all produced under the SBD umbrella?
We both have produced all of our films. So far it has been a feature, three shorts and a webseries.
Brooke, in Why Am I in a Box?, you had the daunting task of bringing Paige to life. Did you invent a history for her to figure out why she’s so nuts?
Rachel and I collaborated on her story, but I decided to push her a little further. We decided that she grew up playing dress-up with her mom’s clothes, which explains her poor clothing choices from the ‘80s. As she’s grown up, she’s discovered that she doesn’t have any true talent, so she reverts back to those days of playing dress-up as her only way to feel creative. She holds a lot of anger and jealousy towards those who are talented. She also lacks any control over her life and talents, so she tries to control others. It gives her that power trip. It gives her something to be passionate about and it gives her something to be crazy about.
Wow, that actually makes perfect sense. Why Am I in a Box? is SBD’s first feature film. Exciting! How’s everything progressing?
Great! We’re always getting great feedback on the film. We recently decided on a distributor for the film so we’re in the process of finishing the deliverables and signing the contract and it’ll be official. We’re also starting to explore the film festival circuit.
You mentioned SBD was producing a webseries too, right?
It was originally with Numa Network. I was working on another show of theirs and they were excited about our all female company and asked if we could create something. I told Rachel, and we both wanted to do the same kind of a series about roommates. It only played a couple of episodes before they decided to change their network to G-rated material instead of PG-13, so we decided to post the rest of the videos ourselves on our YouTube channel. We do hope to do a second season, but it’s shelved right now as we focus on our films.
What is your opinion on the future on the internet as an entertainment delivery system?
I think it still has some growing to do before it becomes one of the main sources of entertainment, especially for films. Films are not made to watch on your computer; they are made to experience in a theater with surround sound and big screens so you feel as though you are a part of the film. I don’t think the internet has to change, I think films will have to change for them to be experienced appropriately on the internet. The stuff that is successful on the internet are not movies, they’re videos for entertaining—not films meant to be experienced. I personally hope that it doesn’t come down to watching movies only on the internet.
I feel exactly the same way myself. You’ve produced a couple of short films already, Brooke. What’s next for you? I believe there’s a feature in your future, right?
Yes, I have a couple of features that I hope to direct. Both are in the writing stages. I love directing because I can connect with the actors. I can push them out of their comfort zones to help them discover new limits. I loved that as an actor, and I pride myself on being able to do that as a director for other actors. If I do find a director that fits one of these projects better than myself, then I’ll let it go and just produce it. I want these movies to be great, and I’ll let go of the director role if that’s what it takes. I love producing a lot, so I won’t feel hurt.
What are your thoughts on women’s place the horror genre?
I am very proud of women in horror, especially when they do what they want and stand up for their roles. I get asked a lot if having Rachel as a horror scream queen hurts Silent-But-Deadly’s image, and I always say “no.” SBD is about strengthening women in film. Rachel is a prime example of that. She chooses projects that she is passionate about, and she gives them her all. I would rather have a co-producer doing horror and doing good with it than a co-producer that does trashy roles “just because.” I think women in horror have a lot of power in their hands and they need to embrace and utilize it. You can be a scream queen and still have a positive impact on the industry and other women!
Well said! Okay, I guess I should let you get back to work, Brooke. Silent-But-Deadly Productions is doing a lot for women in the film industry. You and Rachel should be proud.
Thank you for your interest and support in Silent-But-Deadly. It’s because of you that we’re able to pursue our goals and inspire other women!
I just returned from the Pretty Scary Blood Bath Film Fest, so excuse me if my usual ramblings are less than coherent. The weekend was an orgy of blood, booze, absinthe and automobiles (in various unexpected combinations) so I’m a bit spent, but I will do my best to share my thoughts. In case you didn’t read THIS, the PSBBFF is a fest, sponsored by Damnation Books, that celebrates the work of female horror filmmakers. This was the festival’s first year and I was mightily impressed with the talent on display. I’m not going to review each and every flick that played—that would take way too long. But I will touch on a couple that really made an impression.
First off, look out world—here comes Emily Hagins. Hagins is a 17-year-old high school student from Austin, Texas, who is also a budding auteur. Though she’s been making short films since she was a kid (I mean a littler kid), she made her first feature, Pathogen, when she was 12 (!!). Her latest film, The Retelling, which opened the festival, is an ambitious tale of past sins that come back to haunt a family. This flick’s storyline is tricky, and while Hagins’ chops aren’t yet quite developed enough to effectively realize a narrative this complex, the film she’s made on a $9,000 budget is remarkable. She’s written a deep, compelling story, with wonderful dialogue, and turned out a movie that shows a phenomenal grasp of filmmaking skills. As a director, Hagins gets amazing performances from her actors, most of whom were beginners. The Retelling looks much more expensive than it was and though it doesn’t succeed completely, it’s an impressive achievement for any indie filmmaker, let alone one so young. During a Q&A, Hagins said she’ll worry about her next film after she finishes her SATs. First things first, Emily…
The next flick I have to mention is, of course, Dead Hooker in a Trunk. Made by the Canadian twin filmmaking team Jen and Sylvia Soska, Dead Hooker tells the story of twin sisters who are complete opposites in every way, but learn they’re more alike that either would have ever believed. Yes, it’s the most disturbing feel-good movie I’ve ever seen. Funny, violent, gory, unsettling, gratuitous, excessive and kick-ass, the flick the Soska twins have delivered is the unlikely combination of utterly derivative and wholly original. At various points, I was amazed, amused, appalled, grossed out, disgusted, delighted, confused and restless—but I was never bored. The Soskas could have fixed the “restless” issue by delivering a flick that was about 10 minutes shorter, I think. The film tells the story of four people that find the body of a hooker in their car trunk, and that is the highlight of their weekend. I left Dead Hooker in a Trunk with one main thought: It’s nice to know that women can make a film that is as bizarre and fucked up as anything made by a male. It also disproves the misconception that all Canadians are nice and normal. Way to go, ladies! Twisted Twins indeed.
Everything else playing the fest kind of ran together. Nothing was bad, but other than the fun Mis-Adventures of McT & A, only one other piece stood out for me. In fact, the short film Death in Charge might be the best thing I saw all day. Devi Snively’s movie is a darkly comic reverie that finds Death in the unexpected positions of pupil, teacher and caretaker. The shifting tone of Snively’s short was masterfully balanced—comedy gave way to tragedy, which gave way to wonder, and then inevitability. The flick was deeply affecting in ways I wasn’t expecting. Though I went in to the fest vaguely aware of her, I now can’t wait to see Snively’s upcoming feature, trippin’.
I skipped the festival’s after-party. I was pretty wasted from a full day of female-centric horror. The party was supposed to be my chance to schmooze but, truthfully, I’m such a social misfit that I would’ve just grabbed a beer and stood in a corner staring at the floor anyway. I did see Pretty/Scary founder Heidi Martinuzzi at the fest. We’ve exchanged the occasional email and she’s always been extremely nice to me. I meant to introduce myself, but every time the opportunity presented itself, she had people all around her and I didn’t want to add to her confusion. I finished the night hanging with some good friends, eating pizza and watching more horror movies. Trust me, it was the best way to end an already fantastic weekend. But next year, I’m gonna be an in-your-face networking mofo. No, really!
It could be said that actress Rena Riffel was born to be in showbiz. Rena started appearing in commercials as an infant and soon graduated to the stage. Before long, she was modeling and appearing in films. Her first major role was as Penny/Hope in Paul Verhoeven’s notorious Showgirls. Since then, she’s done a little bit of everything, including horror, drama, comedy—even Czechploitation. Rena has long been enamoured with the myths and legends of Hollywood, so it’s fitting that she appeared in David Lynch’s surreal ode to Tinseltown, Mulholland Dr. In 2009, Rena moved behind the camera to write and direct her own paen to Hollywood, Trasharella Ultra Vixen. I recently touched base with Rena to talk about Andy Warhol, Valley of the Dolls and glamour, glamour, glamour.
Hey, Rena. Let’s talk Trasharella. This film is your debut as a writer and director, right?
It is my feature film debut.
Well, you say this is your feature debut, but you’ve obviously had previous hands-on experience. What have you done in the past to prepare? Shorts? Videos?
Yes, I made a music video for “Deep Kiss,” a song I sing and co-wrote. I made the “Deep Kiss” video with my ex-boyfriend, who is a still photographer. We filmed with 16mm and Super 8mm film—I love film so much. That is one thing I wish I could have done, is filmed Trasharella on real film instead of a digital camera. But the digital look kind of adds to the trashiness, so it works. I also filmed a few commercials for my dad’s business when I was a teenager and [in my] early 20s. And, in high school I was doing choreography for the cheerleading squad and had a dance troupe, so that actually helps with experience in directing, having a vision, and creating something with a group of people. I also was a producer, getting my hands dirty, on an indie film called Between Christmas and New Year’s. I learned how to buy film, load film, get sound equipment, cameras, locations and do all the behind the scenes stuff that goes on.
Was creating your own feature project the next logical step for you? Have you always planned on doing this?
I have always planned on making movies. It was hard to get started. So, that is how Trasharella came about. I decided to not wait for anyone and just do it.
You’re definitely a Hollywood veteran/survivor at this point. You’ve worked as an actor on dozens of sets. What surprised you about directing? Was there anything all your previous experience hadn’t prepared you to expect?
Yes, the post production process is more difficult than I had ever imagined, especially doing an indie film with no budget.
For those who haven’t seen it, can you give us a brief synopsis of Trasharella?
It is a surreal, metaphoric film about what happens to aspiring starlets who come to Hollywood to become famous. They encounter the Hollywood Vampire who tries to destroy them. So they must continue to fight the curse of the Hollywood Vampire to survive, and the only way is to become a super hero, ultra vixen superstar.
Trasharella is very much a campy, cult-type movie, by design. Are you generally a fan of this type of film?
Yes, I love camp and cult films.
What are some of your favorite “bad” flicks?
Andy Warhol and Paul Morrissey movies, like Trash, Frankenstein and Dracula. Valley of the Dolls.
Andy Warhol and Jacqueline Susann—that is an amazing pair! Susann once said the ‘60s were about “Andy Warhol, the Beatles and me.” The mind reels at what she and Warhol could’ve done together.
Yes, oh, that would be amazing. I heard that Jacqueline Susann hated the way the movie [Valley of the Dolls] came out and she left the theater during the premiere. I might have heard that on the commentary track, actually. It must have gotten the Showgirls reaction, but later was appreciated as a cult hit.
You created your own Hollywood mythology for Trasharella. Are you personally very much influenced by the glamorous past of Hollywood? The stars and starlets and rumors, and so on?
Yes, I love the old Hollywood glamour and love the history. I have a new character I will be introducing as Harlo Jean, inspired by the haunting past Hollywood story of Jean Harlow. Yes, I spell it different than her and mixed it up backwards, but she inspired me.
That’s so cool! Who’s your favorite star of all time?
Marilyn Monroe, of course. I met Jane Russell today, we traded autograph pictures. I love Gentlemen Prefer Blondes, but I told her about Showgirls and she was so sweet and witty. She told me that gentlemen do prefer blondes, but they marry brunettes.
[Laughs] Who do you look to for inspiration—as an actress and as a director?
I get inspired by whatever I am led to. Sometimes a great old movie will inspire me, maybe a musical movie like Top Hat with Fred Astaire and Ginger Rogers, or even some type of visual or an experience. My mom tells me stories or about historical people; that puts me on a path of inspiration. I just finished a new take on Marie Antoinette, but more in the style of my “bound heat” films, very sexy. But, I get inspired easily. Of course, I also look to Lynch and Verhoeven as inspiration as a director—they are the best.
So, you’re a writer, director, cinematographer, actress and model, but you are also a musician and songwriter. In one wonderful sequence, Trasharella allows you to sing. Can you tell us a little about the song?
Well, I’m not a cinematographer. [Editor’s note: Oops.] I co-wrote the song “Beauty Is Pain” with Martin Blasick for Desperate Housewives, but oddly enough, “they” said the song was great but too dark. So, I reworked the lyrics and used it in Trasharella/Trasharella Ultra Vixen instead. The same happened with “Perfectly Imperfect.”
“Perfectly Imperfect.” That’s the one I was referring to. Fantastic song and scene!
It was written for another project, but ended up in my movie. It was spontaneous, I told my DP [director of photography]/producing partner that “we are going to do a musical number tonight,” and he lit it beautifully and I just did a few takes. I wanted to sing the songs straight through without cutting in editing, to give it a live feel, so that is why I left both performances as one take straight through. I was always impressed when directors have one long take and things go right, no need to cut around mistakes or whatever.
Trasharella went back into the editing room after you’d released it and emerged a very different film (titled Trasharella Ultra Vixen). What brought about this unusual step?
Since I made the movie and edited it, I could easily continue to edit. I think every filmmaker would love to continue to improve their films over time if they could. I wanted to simplify the movie. My first edit is much more complex, deep and metaphoric. I wanted to explain things and make it more of a slick film. Though, it can’t escape being a trashy bad camp movie—that is how I filmed it. I cut almost 20 minutes from it. A movie is never finished, only abandoned. So true. I heard Hitchcock said that, but Leonardo da Vinci said it first about art. The same goes for a screenplay—even after finishing it and putting it down, new ideas come later. It’s hard to turn off that faucet of ideas; it keeps flowing into the project. The best way is to refocus onto the next movie or project; then it starts all over again—the creative process.
Okay, one of your best-known roles is Penny/Hope in the infamous Showgirls. When you were filming that movie, did you have any idea it would go on to become such a controversial flick?
I thought it would be very controversial, but for different reasons. I had no idea that 15 years later it would be even more popular than it was when it came out.
As we all know, it’s taken on a life of its own over the years. And you have become the unofficial keeper of the Showgirls flame. You seem to be the only cast member involved with it at this point. Do you enjoy it?
Yes, for sure.
How did you inherit this role? One fabulous event led to another and another?
Yes, basically. I was invited by MGM to get my hands cemented in front of the Vista Theater, where they held the premiere for the Showgirls special edition box set DVD. Also, [co-stars] Patrick Bristow and Lin Tucci came. And then I began getting invites to attend and be the special guest for midnight movies of Showgirls and private events. And then it seems that most of the cast doesn’t want anything to do with the movie anymore, but I love the movie, so I show up for it.
There’ve been rumors about a possible Showgirls 2. Do you know anything you care to spill here on Slammed & Damned?
I recently filmed a short “teaser” which I also wrote and directed for a Showgirls follow-up film that I am working on. The teaser is very different than my feature film screenplay, but I just wanted to get the ball rolling and have some fun. It is called SHOWGIRL: The Musical, being that I am the last and only Showgirl keeping that flame. Some original cast members will be in it and some of my Mulholland Drive cast members will appear, as well. It will be my Yentl, like Barbra [Streisand], starring/directing/writing. I am editing the teaser now and will release it either on the internet or as a preview at the Showgirls midnight movie screenings. I am working with top post production talent now, like the original post production team who did the original Showgirls. It’s pretty exciting and amazing.
You’ve worked all over the spectrum: A-list films to Z-grade flicks. What attracts you to a project?
If I see a light at the end of the tunnel, that attracts me. Also, it is very important to me to work with directors who I admire, believe in and enjoy being around. I steer clear of drama or bad experiences anymore—it’s just not worth it. I have been really lucky to work with such wonderful people and end up in some great movies, or even some that found big audiences and got recognition, though they were small productions. I love working in the A-list films, and the B movies are fun and creatively rewarding, too.
You recently started your own production company. How does it feel to be a suit?
I love going to Staples and buying office supplies as a business woman, but I would be happier just being a glamorous movie star. Lately, I have become a full on “geek.” I am learning way too much about technology and have mastered Final Cut Pro, though it is liberating to be able to edit my own movies now. I need to step away from my editing suite and spend more time in dance class or in the makeup trailer.
So, what’s next for you, Rena? IMDb tells me you have several projects in process. What are you excited about?
I’m excited to make a new movie, being the new SHOWGIRL movie. I’m excited also to work with Troy Jensen, the top make-up artist to the stars like Kim Kardashian and all the “It” girls. I will be his March glamour celeb shoot launching his new blog, so that is coming up next. I have some movies coming up, one being a short with Showgirls actor Greg Travis, who played Phil Newkirk, which is in the works, and Noirland by cult director Ramzi Abed. And Tony Todd will make his directorial debut, which I will be in. I’m excited to get back in front of the camera and get glammed up again.
A girl’s got to be pampered, right? Okay, Rena, thanks so much for talking with me.
Thank you! Now can I do your nails, darlin’?
Absolutely! Could you get Gina Gershon to do my toes? ‘Cuz that’d be awesome…
Welcome to Slammed & Damned’s periodically irregular, occasionally infrequent, sporadically intermittent, randomly occurring new feature called “Now Playing at the House of Grind.” Just so you know, the House of Grind is neither a burlesque house nor a coffee house—but if all goes well it should provide a jolt. No, the house I’m referring to is a grindhouse, one of those broken-down movie palaces on the wrong side of town that played gloriously bad exploitation flicks roughly 35 years ago…only this one is located in my living room on the mediocre side of town in the now. Fair warning: The flicks I watch for this feature won’t always be horror, but I promise they’ll always be of questionable taste and quality.
Our first House of Grind selection is called Horrors of Spider Island. Well, that’s one of its names. It’s also known as Ein Toter hing im Netz (A Corpse Hangs in the Web), Girls of Spider Island and The Spider’s Web. Actually, the version I watched has the delightful title It’s Hot in Paradise. Apparently, the name of this movie depends on the cut you’re watching. Trim away the brief nudity and you have Horrors of Spider Island. Leave the nudity in and you have It’s Hot in Paradise. No matter what it’s called, you have to give the producers credit for one thing—they sure know how to hedge their bets. It’s a little bit horror and a little bit sexy. In fact, there’s a little something here for everyone—too bad none if it is very good.
Shot in muddy black and white in 1960, Horrors of Spider Island is a German/Yugoslavian co-production. (Isn’t it nice that Yugoslavia doesn’t hold a grudge? Or, based on the quality of this flick, maybe it does.) Director Fritz Böttger has given us the touching story of Gary (Alexander D’Arcy), a swinging nightclub owner, and a bevy of busty burlesque beauties he’s flying across the ocean to “dance” in his club in Singapore. They hit a rough patch when their plane crashes into the sea and Gary and troupe are left floating in a life raft. But luck soon shines in the form of an island, which they are able to reach before they drive each other (and us) crazy. Once they land, they find fresh water and—what’s that?—a cabin! And what’s that in the cabin? A dead man hanging in a giant spider web. Dammit! Make up your mind, Fate.
It seems the dead man was a professor who was mining for uranium. Luckily, he found it. Unluckily, he also found death. Gary and the gals are upset, but they cheer up when they realize there’s enough food and drink to last a while. Later that evening, Gary decides to go exploring alone. Bad move, Gary. Of course, Gary meets the giant spider that killed the professor. Now, this spider isn’t giant giant. It’s more the size of a big cat—but still, pretty big for a spider. Luckily, Gary kills the spider. Unluckily, the spider bites Gary, who immediately morphs into a man-spider beast, with cheesy claws and a bad mask. Soon, the girls are dropping like flies as Spider-Gary picks them off.
A few weeks later, the remaining girls are frolicking on the beach. Luckily, they spot a ship off the coast of the island. Unluckily, they aren’t able to signal it. Luckily, a couple of guys row to shore with supplies for the professor. Soon, they’re all getting acquainted with whiskey and dancing. Unluckily, the girls are soon fighting over the guys. Luckily, they work it out. Unluckily, Spider-Gary kills again. Luckily, they kill the beast and live happily ever after. Un—no, that’s it. Well, at least it ends on an up note.
While, overall, this movie is pretty meh, it ain’t all bad. It opens with an awesome scene that finds Gary auditioning the dancers. He parades each girl in and has her do her thing, be it hepcat dancing or stripping down to her undies. I have to say that the score is freaking sweet. These chickies have some groovy tunes to move to. One interesting thing this movie reveals is the zeitgeist change in what is considered sexy. Know that these fleshy girls would be considered quite full-figured in these days of aerobicized bellies and butts. So, if you’re considering seeing this flick for a slice of cheesecake, it might not be the flavor you prefer. Also, if you’re considering this flick as sexploitation fodder, you should know the nudity is limited to distant shots of the gals swimming—not much is on display. And though this flick has “roughie” aspirations, it never comes close enough to qualify.
One of the worst things about Horrors of Spider Island is the dubbing. Every actor’s voice is dubbed, and the worst is all the women. We seem to have European actresses dubbing very bad American accents. This flick might be worth a rental just to hear a bad European actress doing a worse Southern accent. Oh, and I have to mention the terrible day-for-night shots. A large part of the flick takes place at night…but it’s obviously day time. And I mean obviously. The shots rarely match as they switch from day to night to day/night to night/day. (Though I haven’t seen it, MST3K goofed on this movie, and that might be the best way to see it. I’m sure they had a blast with it. It’s perfect for their purposes.)
The only actor of note here is Alexander D’Arcy, as Gary. He had a nice career in the ‘30s, co-starring alongside the likes of Cary Grant, Irene Dunne, Billie Burke, Constance Bennett and Ralph Bellamy. Oh how the mighty fall. But hey, he’s an actor, right? A man has to work. This gig provided a trip to Europe and a chance to play with some zaftig Eurobabes. What’s a guy in his 50s to do?
Horrors of Spider Island gets more wrong than right, which means it’s an average grindhouse flick. The biggest problem with this film is there’s not enough nudity for a decent exploitation movie and not enough horror for a good creature feature. So, it’s more sizzle than steak. But, I ask you: Isn’t that what the grindhouse was all about?
I last spoke with actress/writer/director Rachel Grubb about a year ago. At that point, she’d just formed a female-centric production company, Silent-But-Deadly Productions, with her friend Brooke Lemke. She had also started work on a project titled Why Am I in a Box? In honor of Women in Horror Recognition Month, I recently checked in with Rachel to see how this woman in horror is doing. And guess what? She’s doing just fine.
Let’s start by discussing your company, Silent-But-Deadly Productions. What is the aim of SBD?
Brooke [Lemke] and I first started Silent-But-Deadly Productions as a way to keep working together. When we set goals for our company, we decided we wanted to bring more of the female perspective into filmmaking. We were focusing on creating some strong female characters and utilizing the talents of the many amazing women we know who work behind the camera. More recently, we’ve been focusing on working with other women’s non-profit groups. We’ve partnered with a women’s group at the University of Minnesota to make some fun and informative sex education videos.
Do each of you have a specific role?
It didn’t really start out that way, but I do think we have specific roles now. It wasn’t planned, but we both gravitated toward our strengths in the company, and we each found our niche, and we complement each other. Brooke and I both have our strengths and weaknesses. Brooke is good at production work, and she’s particularly interested in AD [assistant director] work. I’m more interested in acting and casting, and I have a background in writing. We’ve gotten good at filling in for each other when we need help. When one of us is directing, it sort of becomes the other person’s job to just be there to keep the director calm and step in if anything comes up.
Both of you are very involved in your filmmaking community. Did Silent-But-Deadly grow organically from the local scene?
I would say so, yes. Brooke and I never went to film school. We learned how to make movies entirely by doing. And we had the opportunity to learn by being on so many sets. There are so many movies being made here all the time, and that was what helped us when we prepared for our first project.
What have each of you produced through SBD so far?
We’ve both been producers on all of our projects. So far, we’ve done the feature Why Am I in a Box?, which I directed. Then we have Brooke’s shorts, A Broken Family, Young Eyes and A Young Heart. Then, we have the webseries SBD. We also produced a short called Whiskey by John Mackin.
Let’s talk about Why Am I in a Box? for a minute. Rachel, you wrote the film. On one level, the film is about a girl that’s kidnapped and forced to write a novel. But there’s something deeper going on. Can you talk about the subtext?
I first got the idea when I took a class on novel writing. My teacher, who was a mystery writer named David Housewright, gave me an assignment to come up with three ideas for a novel. I thought, “Why would anybody want to try to come up with an idea for a novel? If you don’t have any ideas, you’re off the hook. You don’t have to write a novel. Why out yourself through all that work?” Then I thought, “Unless someone was forcing you to write a novel.” And then I thought, “Maybe there’s something.” So I came up with the basic concept and got to work. I didn’t turn it into a screenplay until Brooke and I decided we wanted to make a movie together.
Do the characters in the film use art to avoid life, or life to avoid art?
I think that most of the characters, particularly Jeremy, use life to avoid art. It’s fun to talk about art and share your ideas with your friends. But to actually follow through with something is a big commitment, and isn’t always fun. We do have real-world commitments that don’t allow us to spend every waking moment creating. But it’s easy for us to use those real-world commitments as an excuse not to finish anything. Because if we finish something, what happens when it’s not good enough? Ted had all the free time he needed because Ellen was supporting him. He still couldn’t get anything done because he was lazy. Paige decides to take all of Ellen’s excuses away when she kidnaps her and locks her in a room. Here, she doesn’t have to go to work and has the whole day free to write. So now, the question is: Will Ellen write the great American novel, or will she end up like Ted?
Let’s talk about Paige for a minute. Did you write a backstory for her to figure out how she got to where she is when we meet her? I guess I’m asking, why is she so crazy?
When I was explaining to Brooke what Paige was like, I told her, “She sees herself as Joan Collins, but she’s really her frumpy cousin.” I think what makes Paige crazy is that she wants to be an artist so badly, but she just doesn’t have what it takes. She tries and tries, and she keeps writing, but she can’t produce anything publishable. And she’s kind of a weirdo, and she doesn’t really fit in with the arty crowd, with people like Jeremy, who may not be producing a lot of art either, but at least have that hip factor. She wants to be an artist over-badly, and she can’t, and it’s driven her crazy.
Ah, she’s a producer! That explains it. Okay, Why Am I in a Box? is SBD’s first feature release. How’s it going so far?
It’s going great! The feature has been picked up and will be coming to DVD very soon. We still have some work to do for the new DVD. We hope to put together something really special for our debut!
Whoa, congratulations! Let’s talk about the webseries you mentioned. How did that come about?
We were asked to do a webseries for the Numa Network. They approached us about doing a series, because they were specifically looking for some female-centric shows. Brooke and I both knew right away that we want to do roommates, and we each created our own characters. Brooke wanted to be obsessed with reality TV, and I wanted to make fun of my obsession with The Dark Knight. So she’s off talking to a camera, and I’m off talking to my Joker poster. It’s kind of about the odd little things people do when they’re alone, only more exaggerated.
Unfortunately, we got dropped from the Numa Network after the first few episodes. We were originally asked to do a PG-13-ish show. Then, after we had already started, they decided that wanted only G-rated content. It wasn’t really anyone’s fault. The person we had been dealing with was unaware of the change when we started working on the show. But each episode had to be censored a little bit, and then it got dropped. So, we stuck the whole thing up on our own YouTube channel.
What is your opinion on the future on the internet as an entertainment delivery system?
I think it’s still in the development stages. One thing I think we’ve learned from Howard Dean and Snakes on a Plane is that internet hype doesn’t necessarily translate to real-world hype. When I was a teenager, we didn’t have internet, and after school while I was doing homework, I always had the TV or the radio on. That was our mass media. And it was everyone’s mass media. Generations before me grew up with it, too. Teenagers today have the internet as their mass media, but it’s a young form of mass media, and it isn’t as saturated into our culture as TV and radio. Right now, you know something is a big deal on the internet if you hear about it in other media.
Good point.
I think that in the future, the internet will become equal to all other forms of mass media. I think this is a good thing, because everyone who wants to can use it to promote their work.
Do you have another film ready to shoot?
Yes. My next project is a psychological horror thriller called Sky Is Falling. It was written by Joshua LeSuer. I love the script, and I can’t wait to work on it. I’ll be directing a script by someone else this time around, and I’m interested in seeing how it’s different from directing something I wrote. I’m also going to be playing the lead. That was quite a challenge last time, but now that I have a feature under my belt, I’m ready to give it another go.
When we last spoke, Rachel, you mentioned that women were making major advances in the horror genre. You said that within a few years, women in horror “will become a more mainstream thing.” That was a couple of years ago. Have you seen any progress?
It’s been happening, slowly but surely. We now have a Women In Horror Month, and the first annual Women In Horror Awards! The amazing women in this genre will continue to celebrate each other until the rest of the world takes notice.
I want to thank you for your time, Rachel. I also want to thank you―and Silent-But-Deadly Productions―for what you’re doing for women in film. You should be proud of your achievements. Any last thoughts?
Thank you for supporting Women In Horror and women in film!
As you probably know by now, actor Corey Haim was found dead this morning. And it’s no surprise the cause appears to be an accidental overdose. His drug problems have been well documented and led to a very public flameout a few years ago. To his credit, he spoke openly about his struggles:
Silver Bullet, released in 1985, was based on a Stephen King book. It’s one of the better adaptations of King’s work and a large part of the credit belongs to Haim. The movie is one of those coming-of-age stories that King does so well. You know, the kind where life-changing events lead the main character to look back and say, “It was never the same after that summer.” Well, the life-changing events in Silver Bullet involve a wheelchair, a werewolf…and Gary Busey. Haim played Marty, a disabled young boy who is the hero of the tale. The role required a lot from Haim and he definitely delivered. He more than held his own in his many scenes with the scenery-chewing Busey, which says a lot about the then 14-year-old Haim’s acting ability.
