In part one of my interview with Pop Cinema head, Michael Raso, we talked about his company, it’s recent releases and also about “An Erotic Werewolf in London” To read part one, you can goto: http://www.filmarcade.net/2008/07/10-questions-with-michael-raso-part-one.html

Now, here’s part two of my interview with Mr. Raso.


10) Tell us how Shock-O-Rama acquired Brett Piper's "Drainiac", a film that was previously released back in 2000 from another company?

I first met Brett Piper via phone in 1997. I was publishing Alternative Cinema magazine at the time and was intrigued by Brett’s filmmaking skills. I had just starting distributing our films nationally on VHS tape and called Brett to see what he was currently working on. The title was “Drainiac” and he was searching for a distributor. For whatever reason we didn’t distribute it at the time but certainly came full circle in 2005 when we licensed the title from Brett and began the remastering process.



11) I listened to the Brett Piper commentary along with you and Greg Conley on the Drainiac DVD. Brett Piper said, “The version that was previously released was not finished. It was basically a work in progress but it was as far as we could go". What was the remastering process like for this film and what changes were made from the original?

We completely scrapped the previous version (except for the sound cut) and began remastering the film from its original camera negatives. Previously the film was transferred to Betacam tape. A fine format but outdated in 2005. We opted to transfer the footage to D5 Hi Definition video using a Cintel DSX telecine machine with a DeVinci 2K color corrector – all state-of-the-art at the time of this writing. Once transferred we then loaded the film into out Avid HD Adrenaline system for post production. At this point Brett took the reins and completed the final cut adding and improving upon some of the original, existing effects.


12) Are there plans to continue to work with Brett Piper in the near future?

After “Bacterium,” we decided to take a break. With four films completed, I wanted to concentrate on getting this films released not only to US DVD but also to television and international markets. I would love to work with Brett again and hope one day soon to call him to start a new project.

13) I first discovered Joe Sarno's films when I saw "Swedish Wildcats" back in 2005. Amidst the sexual activity in that film, there was a story and it had strong characters, like in his other film that I've seen since, where today in most of these erotic films, there is just all sex and no story. In your opinion, why does Sarno have this underground following?

Joe Sarno is so much more than “just” an exploitation filmmaker. He is a “real” filmmaker who just happened to be working in the New York sexploitation industry – filled with producers who just thought of the films as product. Joe Sarno films are a “cut above” anything produced in that era. The fact that Joe’s films “always made money for his producers” helped quite a bit as well. Joe Sarno films have “deep storylines” with complex characters is what enables the films to stand the test of time and have such an intense fan following.


14) Sarno recently came out of retirement back in 2004 to direct a film for Seduction Cinema called "Suburban Secrets". What was it like to work to with him for one of your films?

Working with Joe Sarno in 2004 was a dream come true. While I love all the films that I produce at Seduction Cinema, many are “lacking” in the story department and although the films have plenty of soft-core sex, none are as erotic as the more serious works of Sarno and another one of my favorite Seduction Cinema directors – Tony Marsiglia.

15) A film that I've been looking forward to from Shock-O-Rama is Splatter Disco, which is directed by Richard Griffin (a Rhode Island native like me), who has directed both Feeding the Masses and Creature From the Hillbilly Lagoon, currently available at http://www.shockorama.com/. Tell my readers the premise of that film and what was the reaction from the Fangoria Weekend of Horror screening that took place last month?

Rather than give you a synopsis, I’ll quote actor Ken Foree, who has referred to SPLATTER DISCO several times as “a slasher film about relationships” - to which I’ll add “and musical numbers”.

SPLATTER DISCO (which is slated for release November 18, 2008) is a genre-defying blend of classic slasher film, comedy, drama and musical. The film stars Ken Foree (Dawn of the Dead, Rob Zombie’s Halloween), Lynn Lowry (George Romero’s The Crazies, I Drink Your Blood), Trent Haaga and Debbie Rochon, as well as some very talented newcomers.

SPLATTER DISCO has screened publically three times to date: the premiere at the Rhode Island International Film Festival, the Los Angeles Fangoria Weekend of Horrors and the Secaucus New Jersey Weekend of Horrors. I’m thrilled that all three events were well-attended (near-capacity), and that the crowd reactions were positive (appropriate to the events on screen).


16) What is the current release slate for the rest of 2008 for Bloody Earth Films, Retro Seduction Cinema, Shock-O-Rama and Seduction Cinema?

I would be happy to run down the list.

On August 5th Bloody Earth Films releases “Blood and Sex Nightmare,” directed by first-time filmmaker Joe Kolbek.

September 2nd is the release date of Secret Key Motion Pictures “West Germen Sex Comedy Collection.” On September 30th Shock-O-Rama releases “Necroville” – directed by Billy Garberina and Richard Griffin.

Even more Grindhouse Trash on October 14th when Secret Key Motion Pictures releases the third installment of the ever-popular “Grindhose Trash” series – “Grindhouse Trash Part 3: How to Make a Dirty Movie.” On the same date is the “Camp Horror Double Feature” showcasing two horror films from the 1990s – “Vampire’s Embrace” and “Through Dead Eyes.” On October 28th Seduction Cinema will release “Naughty Novelist” starring Darian Caine, Jackie Stevens and AJ Khan. On the same date, Retro-Seduction Cinema will release “Classic Nudes USA.”

Secret Key Motion Pictures will release another installment of the popular “42nd Street Pete” series called “Beyond the Busty Stag Collection.” On November 18th, Shock-O-Rama will release Richard Griffin’s “Splatter Disco.” On the same date, Seduction Cinema will release its newest spoof – “Iron Babe” starring Jackie Stevens and Darian Caine

AS you can see, we’ve been busy around here!


17) What advice would give to someone, who is looking to produce his own film?

With today’s amazing technology, a person can produce a digital film for next to no money. Start small. If you are preparing to “jump in” to a feature film, make that film on a miniscule budget. This way, if the film is not marketable, you can keep your shirt….or house!

Mr. Raso, I would like to thank you for taking time out of your busy schedule for this interview and good luck with the rest of your releases for 2008 and beyond.

To read my review of “Drainiac”, you can goto: http://www.filmarcade.net/2008/07/reviews-from-horror-chamber-funny-games.html

For my review of “Bacterium”, you can goto: http://www.filmarcade.net/2008/01/reviews-from-horror-chamber-rob-zombies.html

And also check out my review of “Dark Chamber” you can goto: http://www.filmarcade.net/2008/03/reviews-from-horror-chamber-30-days-of.html

In my next edition of Ten Questions, I will chat with the host of “Movie Geeks United”, Jamey Duvall.

Until then, my name is Anthony Thurber and that’s 10 Questions.

Michael Raso is an Executive Producer, who has almost a hundred films to his credit including such underground erotic films like “The Erotic Witch Project," “Suburban Secrets,” “The Seduction of Misty Mundae”, which he made his directorial debut to some more recent horror films, such as “Dark Chamber”, “Bacterium” and the upcoming “Splatter Disco”, which will be released this November. Today in part one of my two-part interview, Michael Raso is here to talk about his company Pop Cinema and its recent releases.

1) Tell me about yourself and why did you decide to start your own film company?

While working for Comcast Cable in 1988 I started my own film production company called ei Independent Cinema. (“ei” means film speed which is the measure of a photographic film's sensitivity to light.) I worked my commercial production job 9-5 and after hours, weekend and vacations I spent shooting films with college pals Tim O’Rawe, John Fedele, Jeff Faoro and Zack Snygg. My dream was to be a cameraman/director of photography. I shot many short films and music videos – anything to get my hands on a film camera. In ’89 under Tim O’Rawe’s direction, I shot a feature film on Super 8mm called THE BASEMENT. It was a great leaning experience for all involved and was devastating for me when I discovered that about 50% of the film I shot was underexposed and unusable! Fearing that I would never be offered another job, I was thrilled in 1990 when Tim O’Rawe suggest that I shoot his next film GHOUL SCHOOL, this time on 16mm. Needless to say I was nervous as hell and thought for sure that I’d be fired! After all, this film was produced by David DeCoteau’s company Cinema Home Video and was my first “real” gig. Pay was little and hours were grueling but I really didn’t care…I wanted to shoot films. I remember being nervous as hell when I FedExed my first day’s worth of footage to the West Coast for processing. I could help but think that I’d be “canned” if the producer’s didn’t like the footage. Turned out, the footage was fine and the 20 day shoot was completed. Unfortunately, the experience had burned me out both physically and mentally. I’d been working non-stop for two years and felt it was time for a change. I took a break from feature filmmaking and decided to concentrate on my job at Comcast Cable and the late night TV show I developed with John Fedele called “Meadowlands Showcase.” The 30 minute monthly show was a showcase for local artists, filmmakers and musicians. Much of the show was original sketch comedy shot by John and I. Although “Meadowlands Showcase” was strictly a voluntary job, what I didn’t know then was that this was really my first producing job and first experience with distribution. My goal was to have the show seen nationally. As an employee of Comcast Cable, I literally called dozens of cable companies across the country who cablecast local programs. Using my own dime, I duplicated our shows (on bulky ¾” format video) and bicycled the show via US mail to any cable system that would broadcast us. By 1991 we were coast to coast on at least 24 cable systems include the New Jersey state-wide CTN (Cable Television Network). We had a small staff, we had T-shirts…heck, we had fan mail! It was an amazing experience and was the staring point for my next business venture – the home video distribution business!

In 1994, I quit my cable TV job and I officially started ei Independent Cinema. A friend of mine was running a successful corporate video production company and I convinced him that I would be an asset to his company as a corporate sales rep. I needed office space and a phone in order to start my new enterprise. I wasn’t picky and in December of 1994 ei Independent Cinema was born in a converted fax closet inside in a Bloomfield, NJ office. I held up my end of the bargain by bringing in corporate clients while planning feature film productions and distribution. I had never aspired to start a theatrical film company. It wasn’t a practical idea. Home video was the market for low-budget horror and VHS was the product of the day. Pete Jacelone was a friend of mine from the Comcast days. He introduced me to a young musician named Billy Apriceno (or Bill Hellfire as he became known). He was interested in indie horror and was working doing phone sales for Gevalia Coffee. How perfect! I had my first sales rep. Now I just needed products! Yes, we were planning film productions but what was I going to sell in the meantime. I reached out to JR Bookwalter, who served as a producer on Ghoul School. He was shooting his own films and publishing a magazine called Alternative Cinema. I literally hopped in my car and drove to Ohio to convince him that my new company should market and sell his films on VHS. Bookwalter and company agreed and ei Independent Cinema was off and running.

A rather long-winded answer but that’s how it all started.



2) Not a lot of people know what the executive producer's role is on a film, but tell me in your view, what does that role means?

The Executive Producer is usually the person putting up the funds for a production. An Exec Producer may also have “final cut” on a film. “Final Cut” is a film industry term usually used when a producer or director have contractual authority over how a film is ultimately released for public viewing.


3) Tell me about Pop Cinema's subdivision Bloody Earth Films, Retro Seduction Cinema, Shock-O-Rama, and Seduction Cinema and how they were started?

I actually own two separate companies, Pop Cinema and Alternative Cinema. Although operating out of the same studio, the two companies do operate as separate entities. Pop Cinema (originally called ei Independent Cinema) was formed in 1994. Its labels or “imprints” were started in 1998. Shock-O-Rama and Retro-Shock for horror – Seduction Cinema and Retro-Seduction for soft-core erotica.

I purchased Alternative Cinema in 1997. It was started in 1993 as a mail order catalog and as a nationally published magazine (of the same name). The magazine was published through early 2003. The mail-order catalog is still going strong. In 2007, Alternative Cinema launched its own home video labels – Camp Motion Pictures (campy horror), Bloody Earth Films (cutting edge micro budgeted horror) and Secret Key Motion Pictures (soft-core erotica). I launched the Alternative Cinema labels because I wanted to experiment with different distribution opportunities. This was something that I could not do with the Pop Cinema labels since they were already contractually obligated to a national distribution company.



4) I've always been interested in how some of these small studios acquire some of these films that no one hears of except those who've spent countless hours on MySpace and film festivals alike. Tell us, what are the factors that you look for, before acquiring a film for any of your labels?

Since all of the films we either make or acquire are ultra low-budget, the first thing I look for either in a script or a finished film is its “entertainment value.” That is the number one factor in a film – entertainment value. A movie should be either fun to watch or have a story so compelling that the viewer can’t turn it off.


5) I was first turned on to your company when it was called E.I. Cinema back in 1999 when "The Erotic Witch Project (erotic spoof of "The Blair Witch Project") came out. Did you think that the film would succeed to the point that you would still be distributing movies today?

Our “Erotic Witch Project” wasn’t our first film to be distributed. We had started three years prior in 1996 with “Psycho Sisters.” Yes, to some degree I think that I thought that I would still be distributing today. I really love what I do so I’m not surprised that I’m still here plugging away.


6) You directed a film back in 2004 called "The Seduction of Misty Mundae". What was it like directing your own film and would you do it again?

It was fantastic directing my own project. I had directed numerous short film and commercial projects, so I really felt it was time to direct a feature film. I am very happy with my finished film. I have plans to direct another film – hopefully in the near future.


7) Tell my readers about the company's current releases "Erotic Werewolf of London", and the remastered versions "Drainiac" and Confessions of an American Housewife".

“Erotic Werewolf in London” is a Seduction Cinema film that was shot in 2001 and directed by William Hellfire. Our studio was so busy in 2002, that the film was “shelved.” The film was dusted off and released mostly because of fan demand. Misty Mundae has garnered quite a large fan base and they have been very vocal about this “lost” Misty werewolf film.

Filmmaker Brett Piper was our resident Shock-O-Rama Cinema director from 2003 to 2007, heading up and finishing four new, original feature films. One of his older films, “Drainiac” was produced independently by Brett in 1996. It received a small and modest home video release in 2000. We decided to remaster from the original film elements and re-release the film. It was actually slated as an HD-DVD release but the format became defunct before we could get it out!

I met filmmaker Joe Sarno in 2001 when I acquired his 1967 film “Inga.” A master of erotic cinema and a native New Yorker, Joe and I have become friends. He has directed over 200 erotic films from the year 1961 to present. “Confessions of a Young American Housewife” is one of Joe’s films from 1974. With Joe’s participation, we have remastered the film and have recorded numerous extras including deleted scenes and interviews. Restoring older, obscure films and working with the creative people who made them has been an ongoing project for me for the last two or three years. Very satisfying work and fans are delighted to see the films, restored to their original brilliance.

8) What was it like filming "An Erotic Werewolf in London?

The filming for “Erotic Werewolf” was very different from any other film that I have produced. Almost all of our films from my studio are shot within a twenty day period. “Erotic Werewolf” was shot over the course of a few years, with shoots in both New Jersey and London. It is not an ideal way of shooting and it was this disorganization that led to the initial “shelving” of the project.

9) Tell me - how did you discovered Misty Mundae (aka Erin Brown), the star of the film, and what was she like to work with before moving on with her career?

Misty Mundae was discovered by William Hellfire when he was producing low budget VHS films with his company Factory 2000. Very much like Andy Warhol’s factory of freaks, artists and hangers-on, Bill’s Factory 2000 had its own stable of weirdoes. (I do mean that in the most loving way, of course.) Next to William himself, the most talented of the group was Misty Mundae, his girlfriend at the time. She is a “natural.” She began acting in our early Seduction Cinema spoofs beginning in 2000. She was cast in the lead for our “Play-Mate of the Apes” – the rest is history.

In part two of my interview with Michael Raso, I’ll talk to him about his two other recent releases “Drainiac” and “Confessions of an American Housewife," along with the future for his company.

To view part two of my interview with Michael Raso, you can goto:http://www.filmarcade.net/2008/07/10-questions-with-michael-raso-part-two.html

Until then, my name is Anthony Thurber and that’s 10 Questions.

Welcome to Reviews from the Horror Chamber. I am your chamber keeper, Anthony Thurber. I have some news regarding this column. Next week, there will not be a new edition of Reviews From the Horror Chamber. The reason for this is that next week I have a lot of films that are waiting to be reviewed for this site. So I’m going to catch up on that. But I can tell you that I will have an interview with one or two actresses regarding “Crimson,” which is released this week from Passion River. The first one should be up on the site either after this posting or sometime late tomorrow. Also, I sent out another interview, which I won’t jinx but it’s a director from one of the best horror films of this year. I’ll also be back sometime next weekend with a review of Hellboy 2: The Golden Army. So you horror fans will still have your fix horror here on FilmArcade.net this week. Now on to the reviews.

Funny Games
Year: 2008
Director: Michael Haneke
Stars: Naomi Watts, Tim Roth, Michael Pitt
MPAA Rating: R
Studio: Warner Independent Pictures
Running Time: 111 Mins
Review Rating: Zero Stars

Funny Game is yet another remake to come out this annoying foreign horror remake craze. The film was first done by Michael Haneke (who directs this one also) in 1997. The film is about a family (Naomi Watts, Tim Roth, Devon Gearhart) who goes to their vacation home for nice, relaxed vacation. Soon a couple of rich kids decide to insert themselves into the family’s vacation by taking them hostage in their own home. The family is then forced to play the rich kids' sadistic games. Soon, they must try to find a away to stay alive and defeat those rich kids before they decide that games are over for good.

I never thought that I would find a film with so much hatred after seeing One Missed Call, but Funny Games is on that same level. This film was horrible, I thought about shutting it off midway through the film, but the film critic in me made me continue to watch this horrible mess. Director Michael Haneke’s direction was unenergetic. I say that because the pacing of the film was slow and the story was predictable mostly because he breaks the forth dimension. I’ll go more into this when I’m whining about the screenplay. The acting in this felt like I was watching paint dry, as they either shows no signs of life or the fact that the performances were annoying. Maybe, it was the screenplay, but still I didn’t buy any of the performances here.

The screenplay, which Haneke wrote, made no sense and wasn’t a least bit scary. This film falls flat on it’s face because nothing was believable or could plausibly happen. First, the villains were the type that you could easily punch in the face because they weren’t intimidating. The reason I say that is because they were a bunch of preppy rich kids that you could easily beat up if you saw them on the street. Second, why didn’t the hostages fight back? Hello, these villains were preppies, the kind of people that you kick their ass in gym class. And finally, the breaking of the forth dimension. Sorry, that doesn’t work in this genre. He allows the villains in the screenplay to talk to the audience, smile at the camera and changing a pivotal scene that makes the movie even more unrealistic and plausible. It’s fucking ridiculous. Also, Haneke spends little time developing any of the film’s characters, as the screenplay focuses on spending way too much time torturing the family and making these villains as heroes because it comes out that way in the final product.

Funny Games is not a horror film but a piece of glorified violence that is so senseless, it goes way too far.


Drainiac
Year: 2000
Director: Brett Piper
Stars: Georgia Hatzis, Alexandra Boylan, Ethan Krasnoo
MPAA Rating: Not Rated
Studio: Shock-O-Rama Cinema
Running Time: 76 Mins
Review Rating: 4 Stars

Drainiac is a film that was previously released back in 2000, but the folks at Shock-O-Rama have just released this remastered version of one of Brett Piper’s earlier films. The director has directed “Bacterium,” “Shock-O-Rama,” “Bite Me,” and “Screaming Dead” for the company before this remastered version. The film is about a young woman and her friends who go to the countryside to clean up an old house for a planned restoration. Instead of cleaning up the place, they begin to discover that a strange and gruesome presence haunts the house, as the water turns into ooze. As the strange presence begins to take shape, the teenagers are to come face to face with this hideous monster, who wants to tear their souls and flush it down the drain.

Drainiac is very creepy and entertaining demonic sprits film. This film is a good starting point for people to view some of Brett Piper’s works. He does a very job with the overall presentation of the film. It’s amazing how little money Piper always has to work with but he manages to get the job done. The effects in this film were very good. Granted, I haven’t seen the film in it’s original version. The dream sequences were creepy and frightening. Another thing that Piper always seems to get down is the actors’ performances, as they were good here, like the previous films of his that I’ve seen. He does a great job getting a solid lead performance from Georgia Hatzis. She does a very good job making her character troubled, but does a good job selling her character, in which you know about her.

Piper’s screenplay for the most was good, as this was light years better that movie I just talked about and will go nameless, so we don’t have another rant. One of the things that his screenplay does well was the development of the characters. I liked how Piper spends time in the beginning to develop the main character’s troubled home life and the relationship with her and her friends. I like to see that when I see female characters in these types of horror films, because it helps bring an added interest to the story of the film and builds tension to the film when these female characters are in trouble and you care about them. If there was one thing that the screenplay could has used more off, was scares. There were a few scares during the dream sequence, but the film could have used more, even though it didn’t affect my interest that much, as I was sold with the story and it’s development.

Draniac is very good start, if you want to track the progress of underground director Brett Piper, as I would mention this film with the likes of Screaming Dead and Shock-O-Rama. Drainiac gives new meaning to a haunted house.

If you’re a filmmaker and interested in having your horror film reviewed in the horror chamber, you can reach the Chamber Keeper himself at horrorchamber@filmarcade.net or if you have any film in any genres that you want Film Arcade to review, send us an email at screeners@filmarcade.net.

Also, don’t forget to add the official myspace home of Reviews From the Horror Chamber at http://www.myspace.com/reviewsfromthehorchamber.

In two weeks, I will be back with an all-new edition of Reviews From the Horror Chamber, where I’ll be reviewing The Ruins and going to school with Women’s Studies. Until then, have a frightening day.