Continuing a 20-year-plus tradition of micro-budget production, licensing and marketing, Alternative Cinema / Camp Motion Pictures’ President and Executive Producer Michael Raso announced today the first four features in a 2-year production series to begin January of 2013.
First scheduled is BABYSITTER MASSACRE, a throwback to ‘80s slasher films, written and directed by Henrique Couto (FACES OF SCHLOCK). Following is the horror-comedy-musical PHANTOM OF THE GRINDHOUSE, to be directed by Chris Seaver (TAINTLIGHT), along with the horror-comedy PARANORMAL INVESTIGATION AGENCY (P.I.A). Summer of 2013 brings KILL, GRANNY, KILL!, a gore-filled exploitation throwback from writer and director Jacob Ennis (STASH, RED RIVER), with co-writer Gregory W. Brock.
Michael Raso commented,
“The production series is the newest endeavor in an ongoing campaign to support new and established filmmakers whose output embodies the spirit of ‘80s SOV (shot-on-video) DIY horror films. This is my second opportunity to act as Executive Producer on a Jacob Ennis feature, and KILL, GRANNY, KILL! will be every bit as visceral and blood-drenched – if not more so – than his hillbilly horror epic, RED RIVER. In regard to BABYSITTER MASSACRE, Henrique Couto produced his horror anthology FACES OF SCHLOCK while working for my company, and I’ve maintained an interest in his various pursuits since that time. In the case of PHANTOM OF THE GRINDHOUSE and P.I.A., Chris Seaver’s Warlock Video imprint and prolific output has been on my radar for years. Our shared love of ‘80s DIY movies and the video format (my Camp label released THE BASEMENT 5-Film VHS / DVD Collection last year) meant it was only a matter of time before we would collaborate on a project or series of projects.”
He continued,
“The four – six additional features planned for 2013-2014 are not yet set in stone. I’d like to encourage any enthusiastic, micro-budget filmmaker who would like to be considered for the series to submit a treatment and budget proposal to Director of Business Development Paige Davis by the end of March 2013.”
The new productions will complement, not replace, Camp Motion Pictures’ Retro ‘80s series, scheduled to announce a new slate of DIY ‘80s DVD and VHS releases early 2013.
Comments from the filmmakers include, “I have been a fan of Michael Raso and his companies for many years and have always been impressed with the output of product and talent. One thing that has always struck me about Raso is the devotion to bringing DIY B-movie filmmaking to as many fans as possible, by way of actually pushing and promoting their films and filmmakers anyway they can. I am thrilled to be working with the company after all these years and I hope we can bring something fun and unique to the fans.” (Chris Seaver)
“I am thrilled to work with Michael on the film, our relationship has been excellent on my last two features he has distributed, so when he came to me about producing this project I couldn't have been happier. There is no better home for Babysitter Massacre than Alternative Cinema.” (Henrique Couto)
“It's been a while since we wrapped RED RIVER and in between my other projects, I just couldn't shake the idea of shooting another horror film. The hours are long, the pay is minimal and the work is hard, but at the end of the day there is truly nothing like the experience. What's been so crazy about this madness is that I have been throwing subtle hints Mike's way for a while. One day he was like, “what else you got?”, and basically that is where it started. I can't say enough good things about Mike and Paige and the whole gang over at Alternative Cinema. They trust us and what we are able to pull off. Having that creative freedom is very refreshing. It's also very exciting to partner up with my AD and writing partner Gregory W. Brock once again for this project. I'm just all around ready to get back to splattering some blood. This (new film) is gonna throw some people for a loop. It's not quit the same type of backwoods films we have produced in the past. While it still has the southern feel, there is something darker and more demented about this project. Let's shoot this bitch!” (Jacob Ennis)
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.
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.
