Skip to main content

Full text of "Draculina 10"

See other formats


Making of METAL NOIR 

"SUSAN DENBERG" (''Frankenstein Created lifoman") 

DREADFUL PLEASURES! ttoyie posters, loBby cards, collectibles, spocializinQ in HORRQR/SCI-FI/EXPLOITATION ... 
from tfw AO's to tha BD'a. Send $1 for listing! Wichael Accomando, BSD Prospect Aue., Fairuiau, NJ 07D22. 

2 . 


FEBRUARY, 1990 NO. 10 














PHOTO credits: 


[current ad rates 

[After writing this I couldn't 
like an editorial or s letter to a popular newspaper 

Dear Ann Landers, 

I've lead a very frustrating life and out of this 
frustration uas tiom a monster... a beautiful monster, 
but a monster none the less. 

I originally got the idea for DRACULINA at the age 
of 12... the result of an overworked imagination and 
a underworked male organ. The idea continued to grow 
[both the character and the organ) until it uas intro- 
duced in a digest sized fanzine in 1900 (the character 
not the organ) and eventually graduated to a megazine 
format in 19B5. 

Ply IDth issue of ORACULINA was coming out (actually 
my 31st issue if you counted them all) and I wanted 
to do something special for my readers. A lot of them 
indicated that they wanted to see this Illustrated 
character come to life - via model (they may need help 
too, I’Jl urge them to write) end I'll admit that it 
was something I would also like to see myself... I set 
out to find such a model. The first girl I found uas 
named Plary... Plary seemed pretty willing to play the 
part and even consented to doing a video so the ball 
uas rolling. I wanted to get more exposure for the 
new development so I took out a large di^lay ad for 
#10 in the October issue of SLAUGHTERHOUSE - a rising 
full color horror tag currently ai the market. 

Things seemed okay until October rolled around... 
First thing to strike was Plary had too many obligations 
and decided to quit playing ORACULINA. Dell, I wasn't 
happy - but I dio have enough photo's to muddle through 
the Issue... then came strike two. The issue of 
SLAUGHTERHOUSE with my ad didn't come out when scheduled 
and after a few phone calls I found out it wasn't coming 
out at alll The publishers pulled the plug on it 

Needless to say I was a little distrauglt... but I 
bounced back again. This time I found a wrestler from 
St. Louis named Andrea to don the ORACULINA garb. Once 
again I was armed to increase circulation end set out 
to take another large display ad out - this time in 
HORROR FAN - another seemingly rising Full color horror 
rag. Nothing like repeating the same scenario 

nean really lost her, I still don't 
know what happened to her) and the publishers pulled 
the plug on HORROR FAN... strike three - you're out. 

There was no way I uas going to attempt the ORACULINA 
shuffle again, so I put together the photo's I had of 
both girls and laid the issue out. Hopefully no one 
will be disappointed with the results. 

Oue to lack of space I deleted the BLOODY BOX (letters 
to ORACULINA but plan on retoring it next issue and 
I'm strongly urging the readers of this issue to write 
with their thoughts, ideas, critisisms, praises or any- 
thing else that can be put on paper and send them to 
us. I really do enjoy hearing from them and really 
went to know their thoughts on this issue as well as 
their opinions on structuring future issues. 

I reelly diould thank a lot of people who have helped 
ORACULINA progress over the last 10 Issues (they knew 
who they are) with special thanks going to my pals 
Kris Gilpin (please call him "Biff") and michael Shuter 
("Rossco"). I'd also like to thank all the stores 
that have stocked ORACULINA and the new ones that just 
started with this issue. 

Hopefully everyone has been pretty happy with the 
first 10 issues and will be equally (if not more) pleased 
with the next ID. But, will continuing to publish this 
magazine cause me serious mental anguish? 


you ciA£ in. d&JipenaLe. need of. thenupy^ PteoAe 
u ^lic fon my •SfX m IHC 7€£N^£R''. Send 
a AeJ.f nrlHn af.f.ed &u.iine^4 enveXp& and $3.65 
to m LANBm, VO BOK 11562, OaCAQO, IL 

{I really don’t want to heat from that gray haired bimbo 
but I do want to hear frem you... so write - and get 

(^■ich&lte. ScuieA 



Not since the heyday of Roger 
Cotman has one filrmakor produced 
more product In such a short period 
of tine as has Fred Olen Ray. 
The producer-dlrector-uriter holds 
the current record of making over 
a dozen features during the past 

Ray's love of the genre began 
uihen he uas a kid. having been 
ueaned on FW'Olfi MONSTERS magazine. 
"My folks uouidn't let me watch 
horror movies and, by the time 
they let me, I D.D.'ed,” the direc- 
tor explained to me in his Holly- 
wood home. "1 think FflllOUS MONSTERS 
had 3 lot to do with it; I think 
I wanted to make films just because 
I liked monsters and monster 

He started shooting regular Bm 
movies at that early age, - then 
upscaled himself when Super Smm 
came along. Having no formal film 
schooling, Ray majored in Broadcast 
Electronics, and uas a television 
director for a feu years. It was 
at his TU station he was given 
some expired black t white stock 
and uas loaned some mikes, lights 
and a camera to direct his first 
picture, a 70-minute 16imi epic 

"It uas a good title but a lousy 
movie," he acbiits today. "It was 
about these little aliens that 
looked like bugs that get inside 
people's heads and turn them into 
zombiesj their eyes turn vhite 
and they have to wear sunglasses, 
and a nfiole new society of them 
forms and they go aroirid spreading 
it. It uas pretty silly." He 
cut the film at the station, then 
transferred it to video to do the 
titles and sound mix, bringing 
this short feature in for an in- 
credibly low $300. 

nightclub comedian from Florida 
(where Ray's first films were ^ot), 


and the stand-up comic had a company 
in Texas which bought the distribu- 
tion ri^ts to the picture. "I 
got the impression he uas going 
to perform live and they were going 
to show the movie on a big screen 
TV between performances," Fred 
laughed. "I actually made a profit 
selling that film." 

The director's second film was 
SKY, which he edited with a copy 
of Ed Pincus's excellent GUIDE 
TO FILtTlAKING in one hand in the 
great tradition of self-taught 
filmmmaking. "ALIEN DEAD was a 
lot of fur because we didn't know 
what we were doing! Ue were able 
to fly Buster [FLASH GORDON] CraOOe 
in for a couple days in a little 
town outside of Orlando, and having 
him made a big difference to the 
local authorities because they 
gave us police cats and uniforms. 
Ue literally got the key to the 
city to make this little horror 

His total editing set-up for 
that film was two rewinds, a viewer- 
-snd since it had "Moviola" written 
on it Ray thought that's what a 
Movieola editing machine was — and 
a film synchronizer with a sound 
head on it) he never saw the movie 
in sync until he did the mix in 
Jacksonville, Florida, which was 
a couple hours away. Not wanting 
to show anyone his BRAIN LEECHES 
to ask for investment toward ALIEN 
DEAD he took some footage of a 
man chasing and killing his wife 
through some catualks in a swamp, 
shot with a 16mm Bolex camera. 
Then, through a small group called 
the Florida Motion Picture and 
Television Association, he met 
the producer of I DRINK VOLK BLOOD, 
who was retired in Orlando. 

"I showed him the uncut chase 
footage on my wall at home," Ray 
recalled, "and told him we could 

make this movie for 15 grant), so 
ue each put ip five ant) he brought 
in another guy irfw put up another 
fivei it actually came in for about 
S12,DOO. It took about tuio years 
but the film did make money." 

After that came a kids' Halloueen 
TV special which never made it 
to the air; the master tape's still 
sitting in Ray's closet at home. 
It starred Kirk Alyn, who was Super- 
man in the films SUPERMAN (19AA) 
and has since starred in several 
Fred Ray films; the TU show also 

work by Ernie Ferino. 

It was then that the young direc- 
tor (who is still only in his early 
thirties) made the trek out to 
the liiest coast with his brother, 
John. Fred mat a man in Los Angeles 
he knew fron Florida (they'd been 
introduced by Alan [CHILDREN 
Dtmsby, a mutual friend) who raised 
the money to begin his thrid IBnui 
horror, SCALPS. "SCALPS was one 
□f those really cheap things; John 
daydreamed the story on a bus coning 
home from work one day. We thought 
It'd be the cheapest movie ever 
made; aix kids, a station wagon 
and a tent; I think the total cost 
was HS.OOO." 

Despite the fact that SCALPS 
had a ‘fine theatrical run in Cali- 

and throughout the South, "it was 
the only film we ever made irfiich 

dealing with 21 st Century Distribu- 
tors," said Ray. "liie were supposed 
to get a production report every 
four months: it took them a year 
and a half to get us the first 
one, and even then they said we 
were 31 grand in the hole. die 
always wondered how you could be 
31 grand in the hole on a movie 
which didn't cost IS grand to make!" 
The film had its share of production 
problems too; there were Director 
of Photography hassles and the 
film had to be sent to Washington, 
D.C. for developing. The dailies 
could only be screened a month 
after the fact, making any reshoot- 
ing of troubled scenes impossible. 
Wanting "to show people I could 
actually make a good picture," 

the filmmaker shot his first 3Snm 
feature, 0IDHAZARD, innediately 
after wrapping on SCALPS. This 
time he had a financial backer 
willing to go around $150,000, 
and one of the guys in the movie 
worked for Panavision, which loaned 
Ray i Co. two Panavision cameras 
For free, along with a Ford ven 
in which to transport the equicn^nt. 
"I had a pretty good monster suit," 
the young director remembered, 
"and a good monster who worked 
for Dreos and BiMs [Freds young 
son Chris, uho can recently be 
seen buying a poster of Ray's next 
film, THE TOMB, from Marie (CAT- 


WCTEN DF THE MOON) Windsor in 
COrmANDO SQUAD]. And I had Angeli- 
Pettyjotvi in It, and all was going 

And then, again, more snags. 
"We'd shot about eight days, had 
about 35 minutes of the film done 
for about 12 grand, and the company 
just went dead on us. They had 
another movie of their own they 
were making and, when things got 
tight, ours was the first project 
to get the axe; we didn't even 
get an official answer, they just 

"We didn't want to go back to 
21st Century because of SCALPS," 
ha added, "but I finally thought 
I'd rather lose money myself than 
see the cast and crew not get paid, 
and I couldn't really go into 
another production with this one 
hanging here." With 21st Century 
the budget shrank to $60,000 but 
the film was still conpleted in 
35niii with Ray's best camerawork 
up to that time; it also contained 
many rotoscope-animation effects 
and featured Aldo [HUMAN EXPERI- 
PENTS] Ray (no relation), irfw is 
also in the director's STAR SLAPWER/ 
out on videotape, as are most of 
Fred Ray's titles. 

This was followed by yet another 
troubled production, THE TOPE, 
whose genesis was a stroke of low- 
budget genius. "A buddy of mine 
was a reader for New World and 
he was evaluating F, Paul Wilson's 
THE TOMB," he explained. Remamber- 
ing an H.P. Lovecraft story by 
the same name, "I thought of the 
trouble we had with BIOHAZARO's 
title [WARNING SIGN was going to 
use that title until Ray stopped 
them] and thought, 1 ought to go 
shoot anything and call it THE 
TOPIB, run a big ad at the American 
Film Market, wait for New World 
to come tunning and screaming at 
me, and then 1st them buy me off." 

"Meanwhile, - one of the guys who 
worked for me named Bob [SURF NAZIS 
MUST DIEI] Tennell was making a 
student film, using the temple 
set from that INDIANA JOPES blue- 
jeans ccFiTiercial ; I told him I'd 
pay to get the set up to a studio 
in the Ualley, and that he could 
have it From seven in the morning 
to seven at night on Saturday and 
Sunday, and I'd use it from 7 p.m. 
to 7 a.m. on the same nights." 
Also renting a mummy case and some 
big cat statues, Fred quickly knock- 
ed out 20 pages of script involving 
a homicidal, 1,000-year-old vanpire 

The director shot those 20 pages 
in both nights, using extensive 
special effects, made a promo reel 
and had some artwork done, and 
in a couple days had a deal made 
to complete the picture for 
$100,000. THE TOMB contains an 

all-star exploitation cast (Cameron 
Plitcnelli John Cairadinei Sybil 
Danning and Kitten Natiuidad) and 
is described by its maker as a 
"borror-action-adventure. lile blew 
up airplaneSi flipped over carst 
set people on fire and had a lot 
of rctoscope animation effects 
in which crosses turn into snakes. 
And they also created this bug 
which, when put on a person, crawls 
under his skin and gets on his 

The problems which caused its 
late release resulted from its 
distributors recutting the film. 
"It's like a rock & toll horror 
movie with about seven tunes through 
out the film. It was a raal comedy 
when we were doing it, then they 
went in and cut as much comedy 
out of it as they could because 
they didn't like what we'd done." 
It did, however, finally see the 

light of theatres abroad, and has 
since sold extremely well on video- 
cassette In the U.5. 

Two weeks after that feature 
wrapped production began on STAR 
SLWTEH (aka PRISON SHIP); of his 
rapid-fire directorial techniques 
(THE TOra was scripted in 10 days, 
pre-produced in three weeks and 
shot in two], Fred Olen Ray correct- 
ly stated, "outside of porno, I 
think I've made the most films 
directed by any one person in the 
past feu years, since Corman 
did it in the '50s. I'd rather 
Just do two pictures a year now, 
and make what I'd make off of four," 
he grinned. 

In its rough-cut stage STAR SUW- 
PER garnered laughter and applause 
from studio executives: it was 
made with the help of veteran 
geme producer Jack (THE BLOB, 
DARK STAR) Harris. Ray's biggest 

budget to date, STAR SLAfflER "is 
a really crakerjack movie; Ross 
Hagen, who's also a producer-direc- 
tor, is wonderful as the lead 
villain. Susan (THE POtER) Stokey 
is also in it, as is Dawn Uildsmith 
(Pits. Fred Ray), who plays PLiffin, 
the evil warden's pet -type character 
with an eye patch. Effects man 
John Oodds did a giant rat for 
it. it's about a girl sentenced 
to life imprisonment for burning 
a guy's hand off [on another 
planet]; once she's incarcerated 
this guy gets assigned there, and 
she has the same old hassles trying 
to get along with the other girls. 
It's meant to be taken very lightly, 
and also stars Aldo Ray, John 
Carrsdine and Bobbie [PIAdSOLEUPl] 

The flick is also a wonderful 
conglomeration of a dozen other 
SF films — literally. There are 

in itj the guard uriforms are from 
GALAXY OF TERROR, the weapons from 
SPACEHUNTER, the bad guys' outfits 
from ttTALSTORn and the machine 
they driye is from LXAN'S RUN. 
The prison girls' costumes are 
doctored-up Flashdance sweats from 
Zody's department stores; the sets 
and there's even a guest appearance 
by the DEADLY SPAUNI The director, 
however, truly doubts these items 
are recognirable in his mouie, 
tilth his following film, ARPED 
RESPDNCE, Ray entered the action- 
eduenture genre, and his budgets 
kept rising; this was his first 
production to sport a fully pro- 
fessional look. The mouie recieued 
good reviews from VARIETY and the 
L.A. TIDES and has, in fact, turned 

since it was released he has never 
been out from under studio 

TTiis tale of reuenge starred 
Dauid Carradine, Lee (ESCAPE FROPI 
NEU YORK) Van Cleef (as Carradine's 
father), Wako (CONAN THE BARBARIAN) 
and flichael (THE HILLS HAVE EYES) 
Berryman. Ray, as is usually the 
case, found his cast a joy to work 
with. "Dlichael Berryman is just 
a real sweet guy who likes to work," 

he rememfcered. "Dauid Carradine 
is uery much an artist and is con- 
cerned with things being a certain 
way; I like Dauid a lot and would 
do another picture with him, al- 
though he had his moments." 

One of these moments resulted 
in the director literally picking 
up the actor (who's bigger than 
flay) and physically carrying him 
onto the set. "It was his last 
night of shooting and he wasn't 
going to come out of his trailer 
unless the producers gaue him some- 
thing he wanted," Fred related. 
"I guess he'd kept drinking as 
he argued with them into the even- 
ing, and by the time they finally 
got him to the set— about 11 at 
night— he was uery loaded. He 
was telling stories, like his old 
man does, and I said, 'Dauid, come 
over to your mark,' and he totally 
ignored me, as he does to people 
if he's doing something else. 
So I walked ouer and tapped him 
on the shoulder and, when he turned 
around, I picked him up in a fire- 
man's carry and put him on his 
mark, saying, 'Now, stand there, 
gaddarmit, and do the scene! 
lilell, he kissed me and the camera 
lens, picked up the Director of 
Photography and spun him around 
his head, and then did the scene." 

Another story inuolued a special 

effects harness strapped to the 
hood of a car; pulling back in 
the harness, the actor Found his 
feet could touch the ground. "He 
went into his mobile home and would 
only talk to me; he didn't realize 
they were trying to adjust the 
harness to' his size. So he said 
to re, 'If ya fuck this up I own 
your company.' I said, Daue, 
it's not m^ company— let's go!' 
So we fixed it and, when he found 
out we were only going 25 miles 
an hour, he started rolling around 
on the hood of the cat, almost 
daring the harness to let him fall 
off. That's the kind of guy he 
is. Lee Van Cleef I found to uery 
nice, with a wonderful sense of 
humor. He originally turned the 
script down and 1 went to his house 
to find out irfiat he didn't like 
about it. He was impressed that 
I didn't take a single note yet 
went beck to get the entire script 
rewritten to his liking; he then 
agreed to do the part. I thought 
Dauid and he made a great combina- 
tion in the film, and that I got 
a lot out of Lee; getting him to 
open and laugh in the film 1 
thought we were seeing something 
of him we hadn't seen before." 

One of the filmneker's secrets 
is his ability to stage action 
scenes. "Giuen the amount of 

time and money I have to uoik with, 
I have an eye for filming fist 
fights and the like," Ray said, 
"l always shoot stunts from four 
angles, and I always ask the co- 
ordinators where they think the 
cei's gonna land, then I always 
put a camera right in the path 
of where the car's supposed to 
hit, hoping it'll either stop right 
in front of the camera or hit it 
without destroying it. Then I 
undercrank it a little so you get 
the whole slow spin of the vehicle 
as it goes through the air." 

His next experience with an actor- 
-or rather, in this case, actress- 
-was less than entirely pleasurable; 
it came when Ray directed Heather 
(TV's FALL GUY) Thomas in CYCLONE. 
It first hegsn when Ray had written 
a script outline for Linda Blair 
entitled CYCLE WARRIOR; Cinetel 
(uho'd produced ARtHED RESPONCE) 
wanted another action flick and 
Blair had decided to move on to 
comedies, so the director changed 
the name to CYCLONE and someone 
called the cofipany, offering them 
Thomas for the film. 

"Heather Thomas was without a 
doubt the toughest person I've 
ever had to wcrk with," he admitted. 
"She was demanding and unncessarily 
cruel to the cast and crew, although 
she' never gave me too hard of a 
time. She put it to us on the 
David Letterman and David Bremer 
shows, said she worked for peanuts 
on that picture; we had her for 
three weeks for $20,000." 

"I can tell this story now," 
he continued, "but I couldn't at 
the time. She didn’t like her 
co-star in the film, another blonde 
named Ashley Ferrara. One Sunday 
night at six, when everything's 
closed in California, Heather told 
us that if she didn't have a pair 
of $50-a-pair, Tatk One jeans the 
next morning she wouldn't come 
out of her motor home. It was 
the night before she was due to 
work and we found out Ashley had 
a pair of these Jeans, so she gave 
them to us for Heather to wear 
for the entire shoot. She would've 
Just died if she'd ever found out 
she was wearing Ashley's Jeans, 

and we never told her." 

For a scene in which an oil plug 
comes loose, spraying Thomas in 
the face as she works on her motor- 
cycle, "everyone on the crew was 
dying for the opportunity to hit 
her in the face with that chocolate 
syrup," Ray said. "I, instead, 
reserved that privilege for myself, 
and thoroughly enjoyed it," he 

CYCLONE also featured more great 
genre faces, such as Robert (COUNT 
YDRGA, UAWPIRE) Quarry, tAartine 
Beswick and even ex-6ouiety, Huntz 
Hall, "After they tried to get 
everybody from Jonathan Winters 
to John Byner for the pert, they 
finally listened to me and hired 
Huntz, who's a very fine guy, and 
very fumy." 

As he is now able to pack his 
movies with such familiar faces, 
and his budgets have sored since 
his first self-made days, don't 
call Fred Olen Ray a schlockmeister. 
"I resent that a lot ," he told 
me; "being a schlockmeister and 
working a lot is completely dif- 
ferent, and the fact I work a 'lot 
only indicates I'm doing a good 
Job and I'm in demand. And if 
I made bad movies I would not be 
working at all. Our films are 
very slick, and professionally 
made and acted, and the stunts 
ate well-executed; I provide some- 
thing that's hard to find these 
days: quality pictures on schedule 
and on budget. And because of 
my weird sense of humor or whatever, 
each one of my films has a little 
something different; there is no- 
thing I've done which is a cut- 
and-diied movie." 

"Producers want a movie that 
looks like it cost three times 
the budget they give me, and they 
get it: if I wanted to I could 
be directing all the time. And 
I don't get Just one Job; I get 
two and three-picture contracts. 
I once turned down a five-picture 

a film which germinated as a paint- 
ing, "I had this painting in my 
office where I was producing, snd 

people would ask, 'What's this?' 
Someone finally said, 'You wanna 
make this movie?' and I said, 
'ok;'" It's an actloner starring 
Brian (COBRA) Thompson; the first 
of a two-picture deal for the film- 
maker, it starred his usual cast 
of charismatic villains: William 
Smith, Russ (SATAN'S SADISTS) 
Tamhlyn, Sid (GALAXY OF TERROR) 
Haig and, again, Ross Hagen and 
Rrt)ert Quarry. "It's sort of like 
a RAI’BQ thing where they go to 
South America end destroy this 
drug-processing camp." 

Coming off CYCLONE, Ray found 
this project refreshing. "I kind 
of liked It because it wasn't a 
vehicle movie; I don't mind filming 
the car stunts but it's all the 
driving-around stuff you need to 
cut it all together is what I don't 
like, because all you’re doing 
is sitting on a camera car, and 
it's not really like directing. 
So I was glad to not have any big 
car chases in COfTWNOD SQUAD; it 
was more an army-type movie with 
lots of shooting and things blowing 
Lp. I think I counted 20 major 
fireball explosions during the 
course of that film. The fire 
effects in that movie were truly 
devaetating." The film also starred 
Kathy Shower, current Playmate 
of the Year. 

Ray, however, was not too pleased 
with the final results. "Of all 
the films I’ve done, I think CQPI- 
riANDO SQUAD was probably the most 
cut-and-run exploitation picture; 
I'm not very fond of it," he 

The film did give him the creative 
spark which set his next feature 
rolling, though. While filming 
the camp scenes at Bronson Canyon, 
the site of countless uestern/actinn 
films, Ray became intrigued by 
one of the caves in the area. 
"1 looked down It and It was kind 
of misty, and it looked great! 
So I went home and literally wrote 
50 pages of a script that weekend; 
I figured, if I wrote it correctly, 
I could film almost an entire fea- 
ture in Bronson Canyon." 

The first night he wrote seven 
pages for a set he'd worked on ear- 

lier that day on COmAtJDO SQUAD? 
after wrapping that film on a Fri- 
day night, his actors and crew 
stayed late to shoot the new seven 
pages, finishing it all up by 11 
p.m, "iile watched the footage later 
that ueek and thought, 'Gee, this 
looks better than CAPnANDD SQUWI' 
Since we'd be losing our O.P. soon 
(Gary Graver, mho also directed 
1982’s TRICK DR TREATS), everybody 
said, 'Uell, let's make this film 
right noul ' So two days later 
ue started pre- 
production? seven 
days later we started 
filming and six days 
later we were done! 
life shot this SAG, 

SSmi feature in six 
days with tons of 
effects." The result 
which also starred 
Sybil Darning and 
Jeffrey (RE -ANIMATOR) 

Combs, who was also 
seen in CYCLONE. 

Another secret to 
his fast filmmaking 
is Ray's ability to 
make the right deci- 
sions. "I know v^ien 
I've had enough of 
something," he ex- 
plained; "If some- 
things not working I 
do something else? I 
don't just keep beat- 

know when to move on. 

And the fact it was 
all done in Bronson 
Canyon meant that no 
location was more 
than 20 feet from the 
last one, although 

we did eventually go on some other 
locations to finish the picture." 
An adventure in the style of the 
old serials, Ray also produced 
the film for what he had in his 
bank account? it is a funny tale 
of an expedition in search of a 
lost city and features, among many 
special FX, some foreground minia- 

"It was very low pressure for 
something filmed so quickly," he 

The producer-writer -director 

loves the total freedom he now 
has with his new-found conpany 
(Ms AIP). "It's my money, and 
I'll cast btxi I want and do what 
I want to do; the only limitations 
are the time and money. I was 
so tired of dealing with conpanies 
where you can't get any freedom 
to make a decision and make it 
stick? it always has to be Oked by a 
committee and, most times, you don’t 
get what you want. So I decided 

I'd risk my own 

rroney to have 
my own way, and 
I think it'll 

be very success- 
ful? right now, 
In fact, Ameri- 
can Inde?]endent 
is doing so well, 

work for anybody 
the rest of the 
year. That's 

also whet Roger 

Gorman did," said 

Ray, bringing 

it all full-circle. 

"I’ve never 

made a lot of 
money off my films, 
and I think it's 
about time, so 

I'm going to con- 
tinue to make 

big-budget pic- 
tures for cDiTpanies 

side, produce 

long until I don't 

even have to make 

big-budget films 

for people if I don't want to? 
1 can conpletely stay at my own 
conpany," he said. "Obviously 

I want mote than to be the head 
of a small conpany which makes 
low-budget films, but I don't want 
to have to make those kinds of 
films for other people? what 1 

do for others should be projects 
I thirk are inprotant and worth 
doing. For the low-budgets things 
I might as uell stay in my own 

said, "and we all had a very good 
time. The expedition tuns into 
a tribe of mutant cannibals in 
the cave, the socialite girl is 
captured and has to be rescued 
from a big barbecpje pit, they fight 
Robby the Robot — they'd built a 
new head for it — and they're cap- 
tured by cave girls who are lorded 
over by Sybil, who's an alien uho 
has a futuristic land rover, which 
we got from LOGAN'S RUN. They 
later escape and have to fight 

a dinosaur; it's real silly and 
fun." Ray ccnpleted the entire 
script in about three or four days, 
which his old writing partner, 
Lee (SCALPS) Lankford, then rewrote 
for him. Charles (PARASITE) Band's 
conpany will be distributing? along 
with it cane a two-picture deal 
for Ray's own company, American 
Independent Productions, Inc., 
which will make a couple independent 
features for them. 

10 . 

back yaid and haus all the control 

The tuo other new films from 
Ray's AIP company are OEPENTED 
starring Bobbie Bresee. The former 
feature is one uhich Ray acquired, 
shot neui scenes starring John Car- 
radine for. and subsequently sold 
to Troma Films, Ray's company 
made six times their investment 
back on the deal. 

The elder Carradine can also 
be seen in EUIL SPAUN, a loving 
return to those sleazy days of 
yester-year. "It's a zero-budget 
movie with a great trailer," Ray 
smiled. "There's a large amount 
of tits & ass and blood i guts 
in that movies It's the kind of 
picture I uouldn't make myself 
but uDuld pay others to make. 
The people uFio made it uorked at 
Enpire's make-up effects shop and 
they did all these effects very 
cheaplyi it's one of those films 
I think goc^iounds are really gonna 
like! " 

Fred Olen Ray's latest feature 
is DEEP SPACE, the last film of 
hie tiuo-plcture contract for Trans- 
Uorld Entertainment. It's a big- 
budget, creature-fron-space thriller 
uihich mostly takes place in Los 
Angeles; It is also the most 
effects-laden film Fred Ray has 

"In many cases the effects budget 
on this film has exceeded the entire 
budget of some of my other pic- 
tures," the director grimed. 
"I wrote the script six years ago, 
when I lived in Florida, and never 
showed it to anybody because I 
thought no one would want it. 

I dusted it off, and everybody 
wanted it. There was scsnethlng 
about the script which excited 
the actors who read it; I had no 
end to the people who wanted to 
be in it." 

Those who wound up in it included 
TONSTERS) Elsley, Charles (SUPER- 
FROn THE DEEP) Turkel, Bo (Butcher, 
Elizabeth (THE HOWLING) Brooks, 
Julie (CATUO'IAN) Newrnar and Dawn 

"Filming was tough," Ray laughed; 
"we hadn't done a physical effects 
movie in a long time, tfiere we 
had all kinds of monsters and cable- 
controlled things, and we'd forgot- 
ten how long it toi:A< to do these 
things." Special FX were provided 
by Steve Neill. "All the monster 
effects sort of slowed things down 
a bit and we really didn't have 
time to slow down. For the most 
part it was pretty much a fun movie 

There is also an element of humor 
in the script, and working with 
the actors likewise had it's 

•rRED omi My 

humorous moments. "Ann Turkel 
was a real candy and telephone 
fiend," he recalled; "she always 
had a telephone in her ear, so 
the crew tied a caramel to the 
end of a string and, as a Joke, 
dangled it in front of her to get 
her to move." She also didn't 
like the thought of getting blood 
or creature vomit spewed in her 
face, as happens to most of the 
cast members, so Ray slipped a 
tube into a baby monster for the 
scene in which the actress wrestles 
with the little creature. "She 
was struggling this thing away 

from her face and when I tapped 
the guys they hit the pump," he 
laughed, "and it spit in her face. 
She said if she were any other 
actress she'd be mad but she wasn't, 
so it was OK, I said, 'Ue all 
talked about this; where were you?'" 
She had been on the phone. 

The tentacle-attack scenes had 
to be filned in reverse, causing 
the actors to have to wrap them- 
selves about the face and neck 
with long, "clear slime" tentacles 
at the head of each shot. "So 
it had it's unpleasant sides too, 
but I'd say horror fans are goma 
freak right out; there's a big 
chainsaw fight with the monster 
at the end, and it's really gory, 
on the level of THE EUIL DEAD." 
It is the director's hi^iest- 
budgeted production to date, coming 
in around $2 million. 

Also coming from Trans-iilorld 
is nOON IN SCORPIO, which he co- 
produced; it's a European-style, 
slasher film akin to Roman 

The story concerns six people or 
a sailboat headed for Acapulco, 
and one of them is kliling off 
the others. The mystery stars 
Britt (THE WICKER rOAN) Ekland, 
John Phillip (BARSARELLA) Law, 
William Smith and Robert Quarry. 
It was filmed on a large sailboat 
off of Oalibu, and was directed 
by Gary Graver, who has often times 
shot Ray's movies. 

"The one thing I brought to the 
film which it didn't have was a 
hand weapon, like a pirate hook," 
said Ray. "There's a long spike 
with tiny knife blades sticking 
out of it and, when you pull a 
trigger from the inside, three 
big, long blades come out from 
inside and it turns into e wicked 
grappling hook-type thing." This 
is what the killer tears people's 
throats out with in the film. 

And one more feature, this one 
all all-out blood comedy, in en- 
which Fred Ray also directed; it 
is a co-production of his AIP com- 
pany and Camp Video In it a detec- 
tive tracks down a girl who has 
become a memeber of a chainsaw- 
worshipping cult (headed by Gunnar- 

( contlmied on page. 38 ) 

11 , 




Introductions to Paul Naschy 
might be necessary to the neuier 
fans of splatter films, but as 
fat as hardcore gore fans are con- 
cerned, he is well known. In the 
past feu years, the onslaught of 
horror video has also brou^t a 
nuTber of his lesser known projects 
to the United States. Horror pro- 
jects include INQUISITION, NIGHT 
RIPPER, EXORCISM and many more 
films. Overall, Naschy's film 
credits would tank around BO or 
so, the bulk of which are horror 
films, and the 50 year old actor 
is still going strong. His tits 
& ass, gore splattered style was 
blocking audiences long before 
FRIDAY THE 13th and the downpour 
of ripoffs to follow and anyone 
who doubts this should take a loc* 
at INQUISITION alone, as some scenes 
would curl the hair of the most 
diehard gore fans. 

JUAN BIPOLLi Paul, for the past 
twenty years, you have been probably 
Spain's leading horror actor. 
Hgu would you compare the horror 
films of Europe to the horror films 
of America? 

PAUL NASCHYi The horror films 
of Europe tend to have more flavor 
and be mote original, I think, 
now, than in the USA, where every- 
thing is a sequel to a past film, 
roARE ON ELM STREET, and so on. 
They take good films and make them 
way too long with sequels rather 
than moving on to other things. 
The only character in a horror 
film that I played in sequels to 
any great degree was Count Ualdemar, 
a nobleman cursed with being a 
werewolf and forever seeking a 
cure, but the film plots ell dif- 
fered. Qne, THE BEAST AND THE 

I'lAGIC SUORO, had him going all 
the way to the orient to search 
out a cure for his affliction. 
Ue have the unorthodox setting 
of a werewolf in Japan, fighting 
samara! swordsmen and killing off 
an entire geisha house. It was 
not your typical sequel. 

JRj The gore scenes in some of 
your films are extremely realistic. 

peih^s moreso than in America. 
Uhat do you feel might be the films 
with the most incredible special 

PNs If you are talking gory ef- 
fects, like those seen in America, 
the two bloodiest would be the 
recently released EL AULLIDO DEL 
DIABLO, which has women being killed 
by a Jack the Ripper type killer. 

12 , 

(Note by the author: I'ue seen 
itj and some of the uays women 
get treatedi with throat cuttings« 
intestines falling, etc, puts Dario 
Argents to shame by conparison). 
The other is the older and more 
well know film, INQUISITION. This 
shows extremely realistic tortures, 
which are even more terrifying 
because such things really did 
happen during this time period 
in history. Uomen get their nipples 
cut off, people get burned at the 
stake, people are put to death 
in various uays or tortured in 
order to extract a confession. 
For the fans of blood and violence, 
these two films contain what I 
feel to be the best special effects 
I uas involved with. 

JR: Have your films been criticized 
for their violence and nudity? 
Dne uould think, for example, the 
Catholic church uould have objected 
strongly or boycotted the films 
such as INQUISITION, because their 
church is put in an unfavorable 

PNi On the contrary, there was 
little objection to the plot and 
scenes in the film, beceuse it 
is en intelligent film with a strong 
message, if you look beyond the 
gore and violence. It is not a 
film that offers violence simply 
for the sake of violence, but to 
convey a point, that is the destuc- 
tlveness of religious atrocities 
and fanaticism, which uas a reality 
during this time period, where 
anyone uould be charged wrongly 
with being a heretic or a witch, 
("ly character in this film is that 
of a priest, a witch hunter uho 
sincerely believes in uhat he is 
doing. At one time he even whips 
himself for feeling lust, which 
proves him to be sincere... fanati- 
cal but sincere in his beliefs. 
In the end, he is seduced by a 
village woman, railroaded by others 
below and above him in the church, 
and burned at the stake. In the 
end, he denounces himself as a 
fanatic and repents of his sins, 
which are greater than those of 
the people he persecuted. The 
ugliness of the INQUISITION is 

shown in full form and the message 
makes people think. Ulhat could 
the church say or do? Deny the 
Inquisition happened? No, on the 
contrary, INQUISITION was a good 
film and a moving film, far from 
the typical horror film. The nudi- 
ty and violence uas not there for 
a cheap thrill, but to show the 
time period for what it uas. The 
character wes a difficult role 
to play, because the cole uas very 
conplex. 1 had to make an unsympa- 
thetic man become sympathetic to 
the audience in the end and to 
do so was a very difficult task. 
The irony of someone being put 
to death by his own church, just 
as he had put others to death, 

is uho is killing them. Also, 
my son. ..or nephew in this film... 
ke^s constantly trying to find 
uays to kill me. In his mind he 
carries on conversations with 
various film monsters and I play 

each of these roles, including 
Dracula, The lilolfman, The Phantom 

of the Opera, ft. Hyde, Franken- 
steins' monster, and other roles. 
Caroline flunroe of England also 
plays a lead role, and a mysterious 
part. To explain further would 
destroy the film's ending for 

potential viewers. It is a very 
good film and a very strange film. 
It is not yet released in English 
though, but perhaps soon. That 

depends on a number of things. 


s what made a very strong message. 

The story is two-fold. I play 
an actor, who suffers from delusions 
and likes to make love to women, 
playing a fantasy game, dressing 
up as famous sex maniacs from the 
past like Bluebeard and Rasputin, 
fly youngest son, Sergio, makes 
his debut in this video and plays 
my nephew. He hates me because 
he believes I killed his father. 
As the film progresses, two things 
happen. The women I make love 
to all die bloodily and the question 

It is, however, one of the better 
of the films I have been in. Again, 
this was a hard film to do because 
of the multitude of tolas I had 
to play. It uas like a horror 

PN> Caroline njnro, Chris Huertas, 
Lolo Goes, Tulia Salley, (Manuel 
Zarzo, Jose U vo, Silvia Aguilar, 
Azucena Hernandez, Beatcia Eloriet- 
ta, Pile Aeon, and several other 
Spanish actors and actresses uho are 
extremely capable, but n 
known outside of Europe, 


13 . 


trauellBd to America, Japan, France, 
England, Portugal, Italy, Gernany, 
and aeueral other locations to 
do film. I have done quite a bit 
of work in cinema, to be certain, 
and at one time or another handled 
most aspects of the cinema luorld 
from actor to urtiter, to director, 
to artuork designer. You name 
it arKi I think 1 have done it. 

JRs You also write and direct 
most of your films under different 
names, do you not? 

PN] Yes and this fact might be 
well known In America, but it is 
still not a uery well known fact 
in Europe, especially Spain, I 
have however, worked for several 
other directors, such as Bosch, 
Piquer, and others well known in 
the horror genre. I like to do 
my own films more though, as it 
glues me more leeway to portray 
the character what I want, of what 
my character should be, already 
lined up and drawn out. That is 
why I prefer my own films to those 
of others, although as I said, 
I have worked for many. 

JR I Do you feel the scenes with 
nudity and violence ate a big draw? 

PNj Yes, to a point, but these 
scenes are not the focal point 
of the film, as in the USA. You 
must also remember in Spain, such 
scenes are newer and less routine 
than in America. In the time of 
Franco, there was much more censor- 
ship than you have today. New 
you are alloued to show things 
on the screen which would have 
been banned or cut out beforehand- 
•a.the Spanish cinema, like most 
other aspects of Spanish life, 
has undergone drastic change. 
They have raced to catch up with 
the rest of the world, where Spain 
before had fallen behind. As for 
drawing power, the types of scenes 
you mention do attract some atten- 
tion, because they are, anymore, 
essential elements for a horror 
film, but in my films I do not 
overemphasize this. If it Is there, 
it is there for a reason, as in 
INQUISITION for example, not just 
to be there for the sake of it. 

JR: You have played a wolfman 

several times in film, so imxh 
you might be identified as a Spanish 
version of Lon Chaney Jr. In Ameri- 
ca, the average fan identifies 
Lon Chaney as the wolfman and in 
Spain, as in most of Europe, Paul 

Naschy is t^ wolfman. Have you 
seen the old Chaney films? Did 
they influence you? 

RN: I have always respected the 

old Universal films from Hollywood 
and acJnlre the Chaney portrayal 
of the wolfman, because his acting 
is so profound, so sympathetic, 
you relate the ebarater and feel 
for him, so much you forget the 
film you are seeing is a made up 
fantasy, not reality. You become 
part of the film, as a viewer. 
In my role as the wolfman, 1 also 
tried to evoke that same sense 
of tragedy, that same sense of 
fate, and that same sympathy, but 
that is where the similarities 
between Chaney's wolman and my 
wolfman end. Chaney's wolfmen 
was a man bitten by a werewolf 
in relatively modern times. Count 
lilaldemac is a medieval man who 
keeps being revived throughout 
eternity, searching for peace, 
placed in his situation by ciicon- 
stances far different than the 
Larry Talbot character played by 
Chaney. I aiJiiire the Chaney charac- 
ter as I do most of the older horror 
films which came from Hollywood, 
but when I protray similar monsters 
I try to offer my own interpretation 

as to haul these characters should 
be* tjarying them* se I am seen 
03 originol and not a c«jier of 
iiihat someone else has donei be 
it my role as the uolfman, as Dracu- 
la, as a mummy returned from the 

JR: Do you speak English or are 

your films dubbed for translation? 

PN: In America, there is dubbing, 
as I speak German, French, and 
of course Spanish, but I do not 
speak English. Wy two sons under- 
stand some English though. 

JR: Your yomgest son, Sergio, 

uas acclaimed by horror fans during 
his film debut. Do you see him 
folloulng in your footsteps and 
becoming an important actor in 
horror films himself? 

PN: That is up to him, not me, 

but like me, he likes the horror 
film world. He is off to a good 
start because he did amazingly 
well in his debut. I am not saying 
this simply because he is my son, 
as it comes through other critics 
as well, who would haue been quick 
to attack him had he not been good, 
simply because they would have 
seen him receive this part because 
he. was in my family. Such was 
not the case. Sergio uas well 

JR: In this film, your son makes 
the comment, as his character to 
your character, "I am a better 
actor than youl" Is this an inside 

PN: (Naschy grins but does not 


JR: Do you have other films 


PM: I have some other ideas that 
I am preparing. Flore horror films. 

I think I will work on a new horror 
film too. ("Soraething on vampires?" 
Paul's second son, Bruno, puts 
in questioning!/. Paul shakes 
his head in the negative). Plot 
vampires. Something else. Some- 
thing original again. I have 

several good ideas. Iilhat comes 
first I do not yet know. Also, 
in the meantime, I may play a role 
or two for the other directors, 
as offers often come, both for 
horror films and for other roles. 
I have played in many other filrnis, 
including comedies, police dramas, 
sports stories, documentaries, 
you name it. 

JR: Is the film world more diffi- 
cult for an actor in Eurcpe than 
In America or less? Does it pay 
more or less? Is It easier to 
get breaks in Europe than in 

PNi This Is hard to say because 
the answer to each question would 
depend with each individual in- 
volved. It would vary from person 
to person and company to company. 
You meet good people and bad people 
both in this world. It can be 
very beautiful and you can make 
a let of fame and profit or you 
can make very little. It all de- 
pends on a number of individual 

circumstances. I can't answer 
this honestly, because it would 
vary from person to person. 

JR: lilould you like to give any 

particular message to American 

PNi Ueli, I would like to thank 
them for their support and their 
interest in my work, which has 
picked up greatly with the advent 
of video and redistribution of 
many of my films overseas. I was 
somewhat surprised at just how 
well known some of the films I 
haue done haue been in America 
and how some have developed somewhat 
of a cult following. The American 
fans of cinema are intelligent 
and devoted and I am glad they 
haue found pleasure in my work. 
At times, it even surprises me. 
when I receive fan mail from places 
in America and other English 
speaking countries. I appreciate 
my fans. lAany actors and others 
say that and hardly mean It, but 
with me I do mean it very strongly. 





It seems uiith all the attention 
that Italian filttnekers Dario Btgen- 
to and naric Saua are getting in 
the independent fanzine scene lately 
that the level of interest in these 
tuo filimakers is reaching a boiling 
point that uill hopefully explode 
iiiith some neu upcoming fllTneker 
itfho can successfully emulate the 
filmmaking style of these tuo very 
talented men. Argento himself 
has returned to the U.S. and Phila- 
delphia (specifically) to continue 
his filrmiaking relationship with 
George A, Romero. Since the two 
paired together on 1977's DAWI 
OF THE DEAD, neither has really 

to keep their career on an even 
keel despite moments of brilliance 
( IWERNO and portions of OAV OF 

Both of these talented filmmakers 
are working on TliD EVIL EYES an 
adaptation of 2 infamous Edgar 
Allen Poe stories. But let us 
not digress from our intended stops 
on our little jouney through weird- 
ness here, instead lets' just plunge 
into the meat of the whole matter 
ano say that... in Italy, where 
Argento's name is likened to that 
of some devilish Wichael Angelo, 
there have cropped i.p several recent 
films that take general helpings 
of Argento's stylized form of film- 
making and incoporate them into 
their own features. 

6 colorful hut very very weird 
little bit of futuristic nonsense. 
Taking the films ornate color 
cinematography from out of the 
5USPIRIA guidebook of lighting, 
OBSESSION often looks like a great 
idea for an Argento setting but 
without any story. The recent 
interest in heavy doses of nudity 
seen in may Italian imports (due 
to a relaxation in the ratings 
codes there for the cinema) nave 
given us gore and sex hounds some- 
thing to look at until the next 
Argento opus cones along. 

OBSESSION is ebout a hi-tech 
future world where video is the 
most watched thing (and according 
to this flick, the most happening 

16 . 

thing). Our heroinei a rather 
good looking photographer (played 
by Uerginia Hey, the only woman 
in THE ROAD lilARRICW with any dia- 
logue besides grunts) is into photo- 
graphing busty, well endowed women 
in various stages of undress and 
sometimes in kinky SiPI poses. 
Often she has lesbian affairs with 
most of her models until a lesbian 
body builder (with biceps as big 
as Lou Ferrigno) is killed and 

A cocky police inspector (and 
a misogynist to bootl) investigates 
the murder and treats all the women 
like dirt. 

There's a few more murders and 
plenty of female flesh to ogle 
at until the ending when the mur- 
derer is revealed to be some tor- 
tured male with a gay/lesbian fix- 
ation (much like the killer in 


4 , 

Bciih fhato’ Ve/tg^rUa Hey. 

TENEBfiAE and other films). The 
uncut (and unrated) video version 
features some glimpses of the fe- 
male anatomy usually left to porn 

recent Italian impart (from 1985) 
where sex and the fashion world 
also figures in a tale about beau- 
tiful naked models stalked by a 
schizophrenic murderer. Donald 
Pleasance's role as a police in- 
vestigator very close to 
makes this on more watchable than 
most imported thrillers because 
of Pleasance's reliance on under- 
acting rather than his usual ouer- 

There's a subplot about tele- 
pathy and Incest and the film could 
stand to lose about 20 minutes 
of filler or so (most of it invol- 
ving a fat, slobby hotel reception- 
ist who sneaks up to the rooms 
of the models while they are out 
and sniffs their dirty underwear 
and steals 'em). 

Iilhlle not as much flesh on view 
is a decent thriller which featuj^s 
a gloved killer who murders with 
a pair of large scissors (Argento 
influenced again! ) 

is another recent Italian import, 
but you'll have to look hard to 
find this one around because this 
Joe O'Amato flick is so crazy that 
no U.S. distributor will dare touch 
it. The visual quality of the 
print I saw was pretty poor, but 
nothing in the world could enhance 
this tale that begins with a naked 
woman running mad through an asylum. 
Once she finds a man she Jumps 
on him and they start fuckingl 
As this takes place, they are watch- 
ed by another man in the shadows 
who is furiously masturbating and 
screaming out until the orderlies 
come to take everybody away. 

This is one of those flicks where, 
after the movie begins, everything 
is told in flashbacks. Our tale 
features two couples who vacation 
on an uncharted island where voodoo 
rituals are the run of the mill 
for its' inhabitants and where 
ressurrected corpses run around 
f continued on paye. )9 ) 



In discussing the "Queen of Hor- 
ror" it is not long before the 
name Barbara Steele arisest withOLit 
a doubt the 'face' of the femme 
fetale for the BO's and sporadically 
into the 70's. Until she mesmerized 
and Oeuestated uieuiers in Itario 
Baua's BLACK SUNDAY (1960), female 
leads in horror films were super- 
ficial, cheerleader pretty, uulnet- 
able, and often lacking in acting 
ability. But Steele initiated 
a new era by being a fine actress 
capable of great subtlety as well 
as meance - in a single word, 
intense. It uas a delicious combi- 
nation of her unique physical beauty 
and her ability to ccnmonicated 
the anguish, lust, and mania of 
the gothic females she came to 
embody that made her. so seductiue. 
There was, and is, an icy rage 
behind those huge hypnotic eyes 
that always belied the focused, 
passionate character that is Bar- 
bara Steele at her best. 

Watching her in uarious roles 
in horror films, it la fascinating 
to witness how the films start 
to he constructed as uehiclea for 
her incredible presence. This 
situation while flattering to an 
extent, no doubt contributed a 
great deal to her frustration in 
working in horror, leading her 

made for directors, not for actors. 
One newer thinks of the character 
of the people or their psychology. 
One always follows the same dramatic 
pattern. Thats what I object to 
about nearly all these films - 
they always exploit the same fear." 
This situation is still true in 
main stream horror, which is great 
contradiction in an area that cries 
out for creativity and 'strange- 
ness' instead of the same recycled 

The pale translucent features 
and euocative green eyes of Barbara 
Steele first became known to horror 
or more comnonly known called BLACK 
SUNDAY. She plays dual rcles, 
Katia and Asa, personifications 

of good and evil. Though plot- 
wise the film is somewhat predict- 
able, it is neuertheless a visual 
feast, the black and white imagery 
is painstakingly realized - when 
you want to stun someone with the 
clarity and purity of black and 
white In a horror medium, show 
them BLACK SUNDAY. With Baua's 
enphasis on the visual and Steele's 
presence, you experience a trascen- 
Oent piece of cinema - "when 
aesthetic admiration is sbsolutely 
fused with desire and terror, it 
'blacks out'...''(Jean-Paul Torok 

While playing both the role of 
the good Katia and the demonic 
Asa, Steele would find herself 
stereotyped as the latter thoughout 
her career. The trappings of the 
sorceress Ase continued to plague 
Steele in other roles - exotic 
tortures, whippings, witchcraft, 
necrophilia, and dark eroticism 
became trademarks. Steele's roles 
in horror films were always inten- 
sified by a seething undercurrent 
of sensuality that charges her 
face and body. This is not surpris- 
ing given that she appeciates the 
power and uarieticns of the erotic 
on screen as well as in her personal 
life, admitting a time when she 
was in love with three different 
men simultaneously, each of whcxn 
"filled a different need for a 
lascivious uoluptousness, a childish 
care and a sadistic sensuality." 
(Steele quote from the aritcle 
"The Elegant Nacabra.") It is 
this last quality that became the 
most fully realized in Steele's 
screen performances. In her work 
the coupling of Eros and Thanatos 
enjoyed a formidable and deathly 
beautiful resurrection, tfe mauso- 
leum door uas thrown open and the 
shroud lifted. 

After a small but stylish role 
in Roger Gorman's PIT AND THE PEN- 
DULUPI" (1961), Steele was cast 
in Riccardo Freda's L'ORRIBLE SEBETO 
Once again working with a director 

with a strong visual sensibility 

Stoale sHineat notably, houaver, 
this time as a victim of a sadistic 
husband trying to resurrect his 
first wife from the grave. Freda's 
use of light and dark futher vivify 
Steele's apoearance. 

In 1963 Freda folloiued up his 
earlier urock with THE SPECTRE OF 
played the role of the evil, greed 
niotivatsd Magareta, uho kills her 
husband to be with her lover. 
She is subsequently driven insane 
by things she cannot see or under- 
stand (her husband has not actually 
left this world) and dies a slow 
death by paralysis. 

Another director with a sense 
of Steele's capabilities was Antonio 
Nargheriti, his directing and her 
acting combine for a remarkable 
OF BLOOD, 1963). One of the feu 
horror films that Steele felt was 
actually "rather a good as a film- 
film film." {from an interview 
with Tony Crawley). Loosely based 
on an unputllshed story by Poe, 

to suit Steele enough to do a second 
film with him, I LUN6HI CAPELLI 
1964). Again an effectively atmos- 
pheric black and white piece with 
Steele as its visual center. 
Invariably one has to mention the 
scene with the lightning bolt 
fracturing her tomb causing to 
reveal Steels in a state of decay 
(worms and maggots) which is 
genuinely startling (similar in 
feel to the situation in BLACK 
SLWOAY when hat tomb is defiled 
and she is brought back to life 
by droffe of blood). It is especial- 
ly interesting to note how much 
mots effective these scenes are 
because of Steele's phenomena, 
indeed otherworldly, physical 
beauty, at once inviolable and 
forbidden but also a veil of secrets 
of decay and the tomb. With se» 
and death never far removed, and 
Steele as the pivotal matrix, one 
was never quite sure what she would 
reveal ixider that long dark cloak... 
and whatever she ultimately dis- 
played - would it make her any 
less desirable? 

In the evolution of films that 
seemed to be totally structured 
around the Steele personae, there 
is one that seems to exist for 
and because of her, AflANTI O'OLTRE- 
The director, nario Caiano, takes 
Steele through every possible 

in a deserted castle. The setting 
is successfully atmospheric and 
Steele's look in this film is un- 
forgettable, to say the least, 
the makeup perhaps a bit more 
severe, her dark hair worn long, 
yorking with flargheriti in his 
quick-paced productions seemed 

19 . 

physicel and psychological situa- 

extent that little else is as inpor- 
tant as fetiahistically docLnents 
every facet of Barbara Steele) 
luho once again has a dual role 
as the evil seductress nuriel (In 
her portrayal the sparks fly - 
both literally and figoratiuely! ) 
and the naive and trusting Jenny. 
The scenes as FOuriel are some of 
Steele's most erotic - torrid em- 
braces) languid in chains in the 
dungeon, and in bed... the Sadean 
embers glou. Irinen Steele's husband 
allouiB her a final embrace uith 
her lover, (she's tied doun) he 
electrocutes them - indeed the 
hottest of passionsi Later, when 

l*luriel manifest from beyond the 
grave, disfigured and vengeful, 
it is a mcment of classic propor- 

Barbara Steele's visual intensity 
hit a plateau in ' I'latrocinqoe ' s 
FOR SATAN, 1966). Once again cast 
in a dual role, angelic and demonic, 
the 'Barbaric' Steele look mas 
fully realized "...between a high 
fashioned intellectuailsm and a 
volumptuous sadism. She glides 
about with the elegance and eroti- 
cism of a black patent leather 

Also-in 1965, Steele had a small 
interesting role in michael Reeves' 

the promise of Reeves' feu films 
before his untimely overdose and 
I concur that he was a sigular 
talent and it Is sad that he never 
had the financing or the lime to 
do the masterpiece he wes headed 
for. In SHE KAST Steele does 
have and enticing, though short, 
love scene, all the while observed 
by a lecherous innkeeper. 

Unfortunately 1966 was to see 
one of the last true horror outings 
by Berbara Steele in Pupillo's 
ly, a visually beautiful film with 
sorcery-ridden zortiies seeking 
revenge in a gothic landscape, 
over which looms Steele's dominant 
physical presence. 

As an addenda to chronicling 
Steele's horror roles, mention 
should be made of CLR£ OF THE 
CRinSON ALTAR, 1966. From looking 
at the cast iist - Boris Karloff, 
Christopher Lee (e close freind 
of Steele) - one would think this 
film a landnark, yet it is closer 
to a tombstone. It marked the 
end of an era in many ways. Lee 
would be the only one to continue 
(for a while at least) in horror 
films, the great Karloff passed 
away, and Steele retired from her 
macabre film sanctuaries, CURSE 
does have some great moments how- 
ever, but struggles as a whole 
- nevertheless worth watching to 
enjoy seeing Steele feathered, 

holding court in a Lovecraftian 

The Steele 6eauty was a great 
catalyst for the darkest of fan- 
tasies, those forbidden arenas 
of involvement, so rarely explored 
in the mainstream, and in the under- 
ground with only occasional success. 
In retrospect it is a great pity 
that Steele did not agree to Tinto 
Brass's offer to do an X film, 
a version of L'lPIAGE written by 
Pauline Reage (of STORY OF 0 fame). 
Now one can only mourn the missed 
chance of Steele In totally un- 
bridled erotic role which would 
have been trenendous. This is 
particularly unfortunate in light 
of knowing hier penchiant for the 

20 . 




I had high hopes for this issue... 
I uanted to present a DRACULINA 
pictorial and introduce a DRACULINA 
video at the same time. But, 
unfortunetly things didn't quite 

Getting iitomen into a DRACULINA 
outfit isn't as easy as it sounds... 
especially in the rural areas of 
Illinois. But, I did suceed in 
finding tt«o models (uiell, one mas 
actually from St. Louis) hut neither 
stuck around long enough to do 
a video, I guess, I'm lucky I 
even have the pictures that I'm 
shoving you nou. 

Whether ue find another model 
by next issue is really up in the 
air - but ue are searching - and 
that's uhere ue can use your help. 
Do you knou of a girl that resembles 
the DRACULINA character? Well, 
just submit her photo (or if you 
happen to be a reader - submit 
your photo) to us. It doesn't 
really matter where you live 
if she looks good enough ue 
can make the arrangements to 
get those photo's and 
video's madel 

We realize this is a tall order 
but it can't be ijipQssible 
maybe if you DRACULINA fans 
pull together you can come up 
with something. 

When DRACULINA started 
it's magazine format back 

in October of 1365, ue had 
high hopes for the future 
issues. We feel like 
ue've accompli^ted slot 
of these dreams - and 
ue've established some 
good friends in the 
process. We'd like to 
thank everyone uho's come 
along for the ride and ue 
hope you stay ulth us. 

For those of you uho like 
the pic's you see on the fol- 
louing pages - ue are selling 
some A X G color shots of 
the girls for you private col- 
lectors. (see page A2). 

24 . 



CcmoAon (Scoii. CuAtU) 

f-indA KimAe-tf. conAixinLty 

dAxmn to hLt, cioAei in 


Armand Plastroianni might not 
be the best knoun of directorsi 
but among those uho have been famil- 
iarized with his work, he has de- 
veloped someuihat of an uncanny 
cult follouingi particularly In 
the horror trade. Although not 
as prolific as a Jaquinto Plolina 
or as artistic as a Dario Agento. 
his iiiork remains a positive contri- 
bution to the horror worldt with 
more yet to come. 

nastroianni made an unexpected 
hit out of his Initial directorial 
debut, with the thriller - HE KNOWS 
YOUR ALONE (which incidently, also 
offered the film debut of Tom 
Hanks). The plot was relatively 
simple, a jilted bridesgroom who 
killed his ex-bride and then started 
killing young brides in a pattern, 
sought yet another young bride 
in the form of Caitlin O'Hearney. 
Yet in this film, murders in unex- 
pected places (such as the opening 
scene where a bride gets killed 
in a theatre, while watching an 
on-screen murder) would have made 
Argento green with envy, while 
the plot twist at the end gave 
more than a handful of viewers 
the chills. 

Coming Just at the start of the 
slasher craze, the film offered 
something different, a killer who 
killed for a specific reason, unlike 
the mindless Hichael (heyers and 
Jason, plus scores of imitators 
to follow. In fact, I am sure 
there was more than one viewer 
in the audience, uho having felt 
the pains of bad love affair at 
one point or another, actually 
went and cheered the killer on, 
rather than identifying with the 
victim. In either case, the gate 

Three years later, l^stroianni 
directed THE KILLING HOLR for 20th 
Century Fox, starring Perry King, 
Kenneth ftWlllan, and Elizabeth 
Ken?. While It offered some shades 
of violence and tension, it was 
not up to par with his initial 
success. In 1385, the director 
would return to avenge himself. 

Through Embassy Entertainment, 
Armand created a chilling tale 


riax Caufield, better knoun for 
his role in the dreadful GREASE 
II, along side talented black actor 
Le Uar Burton. The film dealt 
with a group of Army trainees being 
led through a survival training 
mission in Alabama, where unknowing- 
ly, a group of Confederate prisoners 
of war were slaughtered a century 
before, by being forced to walk 
through a mine field. Problems 
arise shortly thereafter when the 
dead soldiers rise from the ground, 
intent on resuming the battles 
they knew while alive. The predic- 
table carnage and bloodshed then 
takes place, with few hunan survi- 
vors standing at the end. 

Evidently realizing blood was 
the in-thing with this generation 
of film goers, flastroiemi focused 
more on the violence and graphic 
than In his initial horror film, 
which offered a more subdued form 
of mayhem, the violence being im- 
plied, more than shown. While 
THE SUPERNATURALS predictably re- 
cieved no Academy Award nominations, 
it was recieved well eraugh by 
the horror audience, if for no 
other reason than originality, 
drifting from tne typical stalk 
and slash flicks which had since 
become a dime a dozen. 

In 1906, the director worked 
on DISTORTIONS, starring veteran 
horror starlet Piper Laurie (CARRIE, 
RUBY), along with Steve Railsback 
and Olivia Hussey. The story in- 
volves mysterious happenings sur- 
rounding a young widow (Hussey), 
which lead to murder, mystery, 
and confusion as the movie pro- 
gresses. Okay folks, so it isn't 
REAR lilIICOW. It's still worth 
checking out. 

If fans were let down by THE 
for some reason bored with THE 
SLPERNATURALS, the 1987 release 
of CAPERON'S CLOSET, and subsequent 
video release in Play of 1SB9, of- 
fered oerhaps the best work ever 
done by this man. The film, star- 
ring Cotter Smith, Plel Harris, 
Tab Hunter and offered Scott Curtis, 
a newcomer, in the role of a child 

25 . 

Aioue No/m Haley (f^eJ. Hofuii^) b)iine>M>eA Cofnen.on' 4. pAychokinetlc pouenA, 

AjLove Lieutenani Sam 7atLia.^AM.o (Zotten. Smith) and Docioe Haley tey to tnlng 

Camenon out of. a hypnotic tnance. 

talking to an Imaginary friend 
in his bedroom closet, named Decep- 
tot. Iilhat starts out as a kiddy 
story suitable for Captain Kangaroo 
quickly euolues into Freddy's Night- 
mares, when it is rewealad that 
Deceptor actually exists, as a 
denxjn stratight from Hell. 

Those uho uiould have objected 
to seeing Clastroianni's name entered 
into the hall of fame for splatter 
film directors on grounds his past 
works failed to offer ample gore 
would be forced into making a re- 
traction once this hit the uieuing 
public, for CAItRON'S CLQSET's 
plot gaue the director free reign 
to use special effects, angles, 
and scenes which weren't possible 
in his other films. The improved 
budget helped too, with special 
effects whiz Carlo Rambaldi and 
makeup artist Rose Librizzi going 
hog wild. The mutilated bodies 

of the victims were as noteworthy 
as in any other film in the genre, 
while the demon itself proved to 
be believable enough in appearance. 
It is the demon which nastoianni 
Still takes pride in. 

"Rambaldi was interested in creat- 
ing a demon unlike anything ever 
seen before and so was I," he ccn- 
mented in a publicity quote. "The 
devil should be more than just 
a monster. It should be an entity 
that can appear anywhere, any time. 
During the course of the movie 

this creature flies, flaps, and 
coils it's snake like tail as well 
as inflicting mortal injuries on 
those foolish enough to stand in 

One of the scenes, prior to the 
demon’s physical nanlfestation, 
in which Mastroiami likewise takes 
pride to this date comes when the ’ 
demon, at this point invisible, 
pulled your Curtis up the wall 
of his bedroom and across the ceil- 
ing toward a spinning fan. 

For a change in pace, Plastroianni 
then switched to directing a modern 
western titled DOUB.E HEUENGE, 
which offered its share of gore 
as well, but was out of the norm 
for him. The film starred Leigh 
ffeCloskey, who had enjoyed a smaller 
part in C'tRON'S CLOSET and before- 
hand had starred in the Oario 
Argento film, INFERNO. 

Iilhile new horror films could 
always be lurking in the halls 
like bats, vampires, and psychos, 
nastroianni has been kept bOsy 
with episodes of FRIDAY THE 13TH 
- THE SERIES. Iilhile he is presently 
off directing new episodes as of 
this writing, his big three for 
the series thus far include BETTER 
OFF DEAD with Nell Wunro, rESflEfl'S 
QALfiLE with Vanity and THE PRISONER 
with Steve Ptonarque. 

For those who missed it, the 
PESTER'S BAieLC episode probably 
went to the absolute lisdt as far 

as what could be presented on 
public tv without provoking a hoopla 
from irate mothers, puritans, and 
born againers, Lp in arms about 
graphics on the small screen. 
The plot involved an ugly post- 
teen store clerk In a record shop, 
idolizing a famous black singer, 
played by Vanity. In the story, 
the freak gets hold of a magic 
amulet capable of granting his 
wishes. Through this charm he 
kills off those who would stop 
him from meeting the singer, then 
goes further, to become her manager 
and lover. . His fantasies still 
not satisfied, he wished to become 
the rock star, literally turing 
into her in a graphic, flesh-melt- 
ing, flesh-molding display of the 
most stomach turning order. This 
scence was repeated in reverse, 
when onstage, the amulet is stolen 
from his grasp, causing him to 
melt back to his ugly deranged 
self in what has to be the most 
uncanny sex change transformation 
ever shown on public tu. 

For interested parties who night 
have the aeries on tape, fteatroianni 
also directed four episodes of 
with Farley Granger, Peggy Cass, 
and Loo Jacobi, IF THE SHOE FITS 
with Dick Shawn, TU SOCIAL CLIPBER 
with Robert Romanus and Talia 
Balsam and THE IPPRESSIONIST with 
Chuck PfcCann. While not nearly 
(continued on page 38) 




this mental picture of the uiay 
things should look. ..then I do 
it and see the way things are... 

DAY ONES Although long hours ap- 
peard on the shooting schedule 
the first day already showed to 

Uord was that the female lead 
wasn't getting back from her boating 
uacation until early evening so 
the majority of the day was lost. 
I was already having visions of 
an unconpleted movie - I spent 
the time watching old Hitchcock 
movies and around 4 pm we began. 

The first scenes to be shot were 
those concerning Laurel's boyfriend, 
Eric. Eric was played by Scott 
ftiir, Buffalo's answer to Bon Jovi. 
Scott had done musical recordings 
and had released a couple of tapes 
of his own. And although the tapes 
were professionally done and tech- 
nically top-notch - most of what 
I heard was more cormercial than 
I cared for — though that's not 
to say it wasn't good... Long 
curly hair and both ears pierced 
— Scott looked like he walked 
right off riTU. 

Ue got through Scott's small 
scene's very quickly and were to 
head out to the country to do the 
"flesh fix" scene. ..a dream sequence 
of Laurel tied to a crusifix of 

There was a delay because one 

"wild" Weyer was the FX man, he 
had made up the first zombie and 
he had left to go to the store 
while Bill worked on the others 
...he never returned. In fact, 
no one heard from him over the 
next four days and 1 don't know 
If they ever did find him. 

lilhen we set up for the "Flesh 
Fix" shot I quickly found I was 

It was July Bth about 1:00 am... 
I just stepped out of the shower 
and figured I'd better try and 
get some sleep. I tossed and turned 
for about 2 hours and then got 
into the Samurai and pulled out 
of the drive-way. 

I was headed towards NY and I 
orepared myself for the 12 hour 
drive by loading down with cassettes 
and turning on the fuzz-buster. 
But even with the diversion of 
watching for cops and listening 
to everything from lilang Chtng to 
Electric Blue Peggy Sue and the 
Revolutions from l' mind 
couldn't help wandering. ..wonder- 
ing - ufiat the fuck was I doing? 

I had became aquainted with David 
Williams about the time he was 
finishing up his first video fea- 
ture THE SHUDDERING (see indepth 
article in DRACULINA He). After 
lengthy correspondence David asked 
ne If 1 would be Interested in 
being Involoved in his next pro- 
ject currently titled THE ELDRITCH 
...I accepted and eventually was 
offered the lead male role in the 

movie... a movie liMch 
was never completed 
in it's original 
form and which I 
eventually re-wrote, 
shot new scenes and 
was assisted by Gary 
IJhitson of UAUE Pro- 
ductions to complete 

These past events 
went through my head, 


went through legal 
problems and has 

yet to be distribu- 
that was never ci^ 

pleted due to pro- 

blems with the cast and now 1 was 
headed to the Buffalo area to set 
as Director of Photography and 
editor on his latest venture I’ETAL 

lilhen I first read IfTAL NOIR 

I was reminded of a low-budget 
HELL RAISER - but the completed 
movie is hardly comparable. The 

story involves a horror/fiction 
writer. Laurel, who rents a house 
that has a disturbed past. It 
seems that an anthropologist named 

Fladley was trying to make a name 

for himself and discovered something 
in a middle eastern country that 
caused him to kill his wife and 
then himself in the hasernent of 
the house. Laurel rents the house 
anyway, thinking of the story as 
inspiration, and starts working 
on her novel. But soon the house 
serves as a mental block for Laurel 
and strange nightmares evolve and 
both she and her boyfriend Eric 
are affected. Soon they both learn 
the secret of the Wadley's and 
their Dark God. 

Anytime 1 read a script I get 

27 . 

Pieuiaui page: Janice. 

Beauman & Roe attack 
n^che-tte K-ing on the. 

{.ix’ , Right; King U)lih 
'hgpo egeJ)’ . Below; Bill 
iteyen aitadi^ King a/i the 
Dank Qod. IhcmoA Tulchen. 
imnche./i an King’ i leg. 

was suffering from S.B.D. (Big 
Budget Dilusions). I get these 

attacks quite often uforking on 

no-Budget pictures, lilhen I envi- 
sioned the "Flesh Fix" I saw a 
crusifix made out of a flesh-like 
substance with zombie heads stick- 
ing through when in actuality it 
turned out to be a large (and heavy) 
wooden cross with platforms for 
zombies to stand on to muTCh on 
Laurel who was to be tied to the 
center. This was a good prop, 

cleverly built, and was one of 
my favorite ^ots in the movie. 

It was at this time I was to meet 
the female lead, Hichelle King... 

fly first itipresion of nichelle 
was "Oh my God. ..there’s no way 
she's going to muddle through all 
of the dialog in this movie I " 
flichelle had arrived with her 

husband, who - I learned earlier 

- was against Hichelle being in 
the movie. He was tart< 
seemed to be a major feat for him 
to stand erect while handling a 

the 3 female and 2 male zombies 
licked around on his wife. 
fact, what little I talked to him 

- he seamed to be a nice enough 
guy. But, through word of mouth, 
I heard his anger increased over 

remainder of the 

it was physically dis- 
played to anyone besides 

Iile wrapped up the 
"Flesh Fix" scene. 
The zombies - Janice 

L. Beauman, Teva Bae, Leslie Leni- 
han, Thomas J. Fulcher - were great, 
all seemingly enjoying the bloody 
mess they were making in true zom- 
bie fashion. Iile hosed them down 
and called It a night. 

DAY TUQs Things now shifted into 
second gear. We were now working 
longer hours and started making 
some progress. 

This day I had dreaded... the 
major dialog scenes between flichelle 
and Eric. I suddenly could see 
us there all night trying to get 
through this, suffering retake 
after retake. David is known for 
his lengthy dialog scenes - with 
paragraphs of tongue twisters most 
people would run from. At this 
point flichelle was to take my first 

28 . 

Moue. Scott I'lut/i IttcA&tlc /Ung to /itpplng fiti h&cuU. out’, Atoue /Ught: 

OianJje.^ Pinion cu, the. ucny dtitunAed (and m&/>j>y) Hn, Hadley , 

imgrBSsion of her and smear it 
in Fny face, nicheile got through 
her lines with feu retakes and 
even displaying clever reatlons 
and poise behind the lines. I 
for one, uas impressed. In fact, 
Michelle went through the entire 
5 days a real trooper putting up 
with more than an actress should 
be expected. Long hours, no food, 
covered in blood and uorking at 
one point uhen she uas obviously 
feeling under the weather, Maybe 
it uas the uay she acted in the 
presence of her husband the first 
day that made me drau the wrong 
conclusions - I don't know. 

After urapoing on the dialog ue 
noved into Michelle and Eric's 
love scene - in which Michelle 
seemed hesitant to do topless, 
but eventually did - the day ended 
with Michelle at the lilinter Garden, 
some mall type place by Niagra 
falls. Things urapped up around 

DAY THREE! By now it became 
apparent that the days would get 
exceedingly longer. Iile met at 
David's house somewhere around 
6:30 am in order to travel to the 
"Trailer of Meat" which was a good 
2 hour trip. 

The trailer was part of a semi- 
dream sequence in which laurel 
meets up with a skeleton in the 
John, Miss Dodd (the real-estate 
lady that rented her the house, 
played by David's wife) and Mort, 
Laurel's agent, a small role played 
by yours truly. 

Today we were to get a taste 
of the FX...a major problem concern- 
ing the time factor. It seems 
that a lot of FX material had been 
ordered to be used to make appli- 
ances a head of time so they'd 
be ready to use. But after a mix 
up on the order and then a delay 
of shipment - the supplies never 
reached NY until 2 days before 
ue began shooting. So no pie-made 

appliances were ready. 

The FX man, Bill Meyer, was new 
to the game. Being his first time 
doing FX for movies. Bill uas some- 
what slow in getting the FX pre- 
pared, But what Bill lacked in 
experience he made up for in enthu- 
siasm. Bill seemed to continually 
get exited about various things. 
Finding great amazement in items 
most would probably had ovorlooked. 
His high spirits would often over- 
flow, causing everyone else to 
ke^ a fresher outlook on things 
that would regularly seem mundane. 
Bill uas definitely a shot of speed 
to every else on the set. 

Mrs. Dodd had metal ripp from 
her shoulder blades while I had 
a hypo blast from my finger. An 
aventful day that finished some- 
where after 11. 

DAY FDlfli The next two days were 
to prove extremely tiresome for 
the FX people. Uith one event 
after another and some characters 

in constant makeup. 

Early that morning 3uJu Slocumn 
uas there from New York City to 
play the part of mrs. Nadley. 
Both she and Charles Pinion (uiho 
are very good friends) had been 
in makeup for a good hour and a 
half before I had arrived. 

Charles mas there to play fir. 
Cladley.... Charles is probably best 
known for his video TtllSTED ISSUES 
which has gotten quite a bit of 
publicity having had write-ups 
in HIGH TirES and most recently 
in Canada's KILL BABY. 

Charles had arrived a day before 
I had. coming in early for a face 
cast that was never done due to 
the problems with the FX supplies, 
and had been involved with every 
step of the production thus far. 
I had ^ent a lot of time around 
Charles during the production - 
since we both had a common interest 
in both film and video we had 
lengthy discussions on the subjects 
...and though we didn't always 
share the same opinion I found 
Charles a truly Interesting person 

BtU. cm 

throughcxit the produciton. keeping 
things more enjoyable than they 
really were at times. But It wasn't 
until this day that I was to see 
Charles real talent... I could 
easily ssy that he is the best 
actor I have worked with to date. 
Knowing all his lines and able 
to show great emotion required 

with any given scene... why he 
doesn't pursue a full-time acrtlng 
career is completely beyond me. 

On this day we shot the rOadley's' 
torturing Eric... the I*ladley death 
scenes and the notorious Blood 
Sex scene - which involved a semi- 
nude Mr. and 1*115. I'ladley covered 
in blood making love. Ue also 

did a couple of my favorite shots 
of Eric getting his intestines 

and heart ripped out. This day 
ended after midnight. 

DAY FIVES The final stretch. 
The FX people were still in demand. 
Sill was making his debut as the 
Dark God. He had been up all night 
and both he and Scott were made 

up for the final round. 

Scott was now walking around 
with his massive gash that started 
at the top of his chest and ended 
at the bottom of his stomach. 
He uas now getting fairly com- 
fortable in his makeup... the day 
before he idecided to take a stroll 
down the street in his half decom- 
posed state - startling onlocScers 
to the point that a police car 
uas called out to find out what 
was going on. 

The final day was a confrontation 

30 . 

ttie. dank Qod. 

between Laurel and the Dark God 
and Eric... the results were any- 
thing but clean. 

Ue spent the rest of the time 
shooting various stuff needed to 
fini^ the picture out - plus the 
opening scenes of the house being 
shown for the first time. Ue were 
starting to run behind so it was 
inevitable that changes would be 
made. ..we finally finished around 
11 pm. 

The next day I prepared myself 
for the 12 hour trip back home. 
Although the movie couldn't be 
considered all pleasant... long 
hours. eating breakfast around 
7:30 each morning and supper around 
midnight each night and living 
off of two-liters of Diet Coke 
in between caused me to lose 8 
pounds over the shooting period. 
But one thing I could say about 
the event. ..we set cut to make 
a movie in 5 days and ue did it. 
I had some take up stuff to ^cnt 
price I got beck to Illinois but 
all the important stuff was shot... 
which mey not sound like much to 
seme - you ought to try and do 

At this point PETAL NQIR is in 
it's final edit - and although 
there are parts 1 don't really 
care for - all and all it's a pretty 
good flick. ..and hopefully it will 
be bleeding all over a video store 
shelf near you soon. 

David has started work on his 
next feature, THE ELDRITCH; which 
will be shot in ISmm sometime 
this sunmei. 





(or pieces of them) 

1 ^ 




In 1963 John Foylesi author of 
such classics as THE FRENCH LIEU- 
TENANT'S lilOnAN and I^AGUS, lurots 
a nouel called THE COLLECTOR. 
It tells the story of a shy butter- 
fly collector mho kidnaps a beauti- 
ful art student and holds her cap- 
tive in his basement, uith tragic 
consequences. The book uias made 
into a movie in 1965, but its full 
impact was not felt until turn de- 
cades later. 

At least Four serial killers 
«ho have been arrested since 1983 
are admirers of the nouel, some 
of them oyning several editions 
of it. An examination of their 
crimes reveals the horrific extent 
of the book's influence. 

Of these cases, the tuo most 
gruesome are undoubtfully Leonard 
Lake and Christopher Uilder. Lake, 
a former Plarine and self-styled 
survlvalist, kept a detailed record 
of. his activities, which included 
kidnapping, sexual abuse, torture, 
and murder. His f ive-htndred-page 
diary told of his plan to survive 
the Impending nuclear holocaust 
in a concrete burker stocked uith 
food, weapons, and female sex 
slaves. He called his plan Opera- 
tion hlranda, in nonor of the first 
kidnap victim in THE COLLECTOR. 
Uhile the kidnapper in the nouel 
took photographs of his captiue. 
Lake employed more up-to-date 
methods, uideo taping many of his 
torture sessions. In one of the 
tapes, a teen-aged girl is shown 
bound to a straight-back chair 
^ile Lake leers at her and tells 
her of his plans. She would be 
his prisoner, he said; she would 
work for him and help out around 
the ranch, and uheneuer he conmand- 
ed, she would strip and submit 
to ail his sexual desires. Howeuer, 


he wanted to be fair, 
so he gaue her an op- 
tions "or you can 
say no.. lin which 

I'll tie you to 

the b 

and then take you 
outside and shoot 
you. Your choicel” 

Seueral different 
women, including a 
neighbor, were shown 
being stripped, tied 
to chairs, raped, and 
sodomized. Pieces of 
their bodies were 
later found scattered 
about Lake's proper- 
ty, after they'd been 
cut up with a pair 
of tree trirrmers and 

Lake wrote of his 
search for the perfect woman, one 
who "does exactly as she is told 
and nothing else." He comiared 
women to books; "You put them 
on the shelf and take them down 
when you need them," and summed 
up bis philosophy by writing that 
"Bod meant women for cooking, 
cleaning house and sex. And when 
they are not in use, they should 
be locked up." At least twenty 
missing women haue been linked 
to Lake's Death Ranch. 

Knowing of Lake's feelings about 
women, it is not difficult to 
imagine him identifying with the 
abductor in the Fowles nouel. 
The share an Inebillty to relate 
to women in a normal way, and are 
comfortable only when in complete 
connand. Lake's diary entries 
explaining that "there is no sexual 
problem with a submissive woman" 
and "the perfect woman is totally 
controlled" eerily echo Pliranda's 

31 . 


accusation that her captor collects 
butterflies because he can't deal 
with living things. 

In addition, they both used photo- 
gra^y as a way of assuring them- 
selues that they were in control, 
which is a common practice among 
many habitual killers. Since kil- 
ling is, for them, a way of "owning 
a female person" (as Ted Bundy 
put it}, photographs of the uictims- 
-often taken both before and after 
death — are a way to keep a permanent 
record of these "acquisitions." 

Edmund Kemper took Polaioids of 
the fresh corpses of his victims, 
which he later studied while eating 
large chur4<s of the bodies. Ian 
Brady, during several of his mur- 
ders, took obvious delight in re- 
cording the entire ceremony, in 

mignt take pictures at a birth- 
day party. After recording on 
audio tape one little girl's 

for mercy, he took photographs 
of his girlgtisnd posing cheer- 
fully on the spot uhere they'd 

The sex-slsue fantasies of Chris- 
topher tililder, also an avid photo- 
grapher, began when he was a teen- 
ager. First arrested for rape 
at the age of seventeen in 1963, 
he was constantly in trouble for 
various sexual offenses for the 
test of his life, fit age twenty- 
three, his wife left him because 
of extreme sexual abuse— after 
just a few days of marriage. 
However, it wasn't until February 
igsa that he finally packed up 
his car and took off on a cross- 
country rape-and-murder spree. 
Mis joyride lasted three months 
and claimed the lives of at least 
eleven young women, culminating 
in his own violent death in a shoot- 
out with the xiice. 

One of the victims, a nineteen 
year old freshman at Florida State, 
managed to escape after more than 
five hoots of physical and psycho- 
logical torture, Wilder had picked 
her up at a shopping mall, posing 
as a fashion photographer and pro- 
mising her a career as a profes- 
sional model. She followed him 
out to his car, uhere he punched 

her in the face and stomach, zipped 
her into a sleeping bag, and drove 
two hurOteO miles to a motel in 
Bainoridge, Georgia. 

after carrying her into the hotel 
room, he unzipped her from the 
sleeping bag, strix^d her, and 
brutally raped her twice. Then, 
after some oral sex and a brief 
rest, he attached the ends of an 
electrical cord to her toes and 
spent the next two hours jolting 
her with electrical sho6<s. 

Then the real torture began. 
As she lay helplessly on the bed 

with her hands tied and her mouth 
taped st'Jt, he put superglue on 
her eyleds and used a hairdryer 
to make the glue seal faster, 
lilhen an aerobics show came on tele- 
vision, Wilder forced tne girl 
to dance nude in time with the 
music, her foot still wired to 
the electrical cord. 

Though he undoubtfully had some 
more surprises planned for the 
girl, including a slow, agonizing 
death, she managed to escape his 
grasp just long enough to save 
her life. During a violent strug- 
gle, in which he slashed her scalp 
while trying to bludgeon her with 
the hairdryer, she was able to 

stumble into the bathroom and lock 
the door. As she screamed and 
pounded on the walls. Wilder grabbed 
his suitcase and fled naked out 
the front door. 

Just hours later, five hundred 
miles away in Beaumont, Texas, 
Wilder met another young woman 
picked up where he left off. 
Evidence indicated that Terry Wal- 
den, a beautiful twenty four year 
old nursing student, was put through 
an ordeal similar to that of the 
previous victim, but with one dif- 
ference! she never got away. 
Two weeks later, a twenty year 
old aspiring model was abducted 
from a shopping center in Oklahoma 
City. Her half-naked, mutilated 
body was found the next day, shoved 
under a tree along the banks of 
a river in Kansas, almost three 
hundred miles away. 

Her back was laced with tiny 
puncture wounds made with the tip 
of a sharp knife, and her breasts 
bore deep savage bite marks. Some- 
one had cut her long blond hair, 
shaved her pubic hair, and repeated- 
ly raped her, before finally putting 
her out of her misery with a single 
vicious thrust from a knife just 
above her left breast. 

Wilder was sooh linked to this 
crime, and by the time he was final- 
ly gunned down a month later, at 
least four more women had died 
equally horrifying deaths. 

Though all but two of Wilder's 
conquests during this time ended 
in death, his methods indicate 
that murder was not his main ob- 
jective. He expended a great deal 
of time experimenting with novel 
ways of inflicting pain and torture, 
relishing every second of the humi- 
liation and degradation he caused. 
It was only afterwards, when he'd 
finally satisfied his sadistic 
inciulses and the girls were there- 
fore no longer of any use, that 
they were killed and discarded 
like dolls, almost as an after- 
thought. The death of the victim, 
for him, was antlcllmatici his 
goal, clearly, was to assune a 
role of ultimate authority, knowing 
that he held the life of a nubile 
young woman in his hands. 

As in THE COLLECTOR, wherein 
f continued on page. 39) 




I'm sure most readers of DRACULINA 
are familiar with Donald Farmer. 
Having started out publishing a 
line called W SPLATTER TITtS 

- Donald moved into the booming 
video market, urlting and directing 
the movie DEflON QUEEN. This uas 
to be follouied up by CANNIBAL 
HOOKERS and his most recent release 


life recently had an opportunity 
to talk to Donald about past ven- 
tures as uell as new ones. . . 

CRACULINA: Donald, how are you 


DONALD FARTOERl I Just raised 
S1O,0X for UATiPIRE COP so we're 
going to start shooting that in 
about 6 weeks. 

D: Is that going to be on video? 

DFi No, it's going to be on Super 
16nin. Iilhich is basically using 
a special camera that will change 
the frame speed so that you can 
shoot at 30 frames per second in- 
stead of 2A.,. so that way it makes 
it look just like 35fiiii when your 
shooting at 3G frames per second. 
I'm getting the camera, a Nagra 
and a camera man ail in a package 
for $1500 for a week... for a six 
day week, Filjn and processing 
■ill be another $2, ODD.. .we can 
shoot the whole movie for about 
$15,000. .. so I got 10 to start 
shooting and i'll CQllBCt another 
S to finish it. Ue’re going to 
shoot in Florida... the person 
raising the money has some locations 

Os Are you going to edit on video? 

OF I Yeah, we're going to transfer 
everything to video and edit it. 

Os How long do you think it will 
t*e to shoot? 

OFs It has a nine day schedule. 
0: You already have a distributor 

for SCREAM DREAM. . . 

DF> Oh yeah, that's coming out 
nation wide in the middle of Octo- 
ber. That will be coming out 
which is a Joint partnership between 
which is the company that distri- 
buted CANNIBAL HOOKERS, it's a 
partnership between them and a 
New Jersey company. They gave 
us twice as much money as they 
did for CANNIBAL HOOKERS, although 
ue didn't spend anymore making 
it (laughs). The reason they are 
doing it as a partnership with 
the New Jersey coipany is because 
that way - although its being mar- 
keted out of Canada - its going 
to be manufactured and shipped 
out of New Jersey so when stores 
order copies of it tapes won't 
have to go across Canadian customs. 
You don't have your custom delays 
and it will speed everything up. 
At one time CAimiBAL HOOKERS ^ot 
held up for 2 weeks in Canadian 
custone u^iile they were going 
through it to check for obscenities, 

0> Have you sold any foreign ri^ts 

DFi No, ue haven't started yet. 
Jess Franco has got a copy of it, 
representing it and LETTUCE ENTER- 
TAIN YOU is going to represent 
it for all foreign sales. 

Oi lifriat's the story line for SCREAM 

DFi It's about a female rock singer 
loosely patterned after Llta Ford, 
utio is very controversial and is 
accused of having satanic messages 
mixed in with her music and she 
ends up getting killed and the 
girl they hire to replace her is 
possessed by her and starts killing 
off the people who were screwing 
over the original singer and she 
turns into some sort of demon cre- 
ature. There's a photo of her 
in the new issue of Fangoria that 

shows her when she's trsnsfam«d. 

Di So your going to quit making 
movies on video altogether now? 

DFi Uh-huh, yeah, why should I 
make them on video when I can make 
them so cheap oo film. For maybe 
about 5 or 10 thousand extra, why 
still make one on video when you 
can make it on film. I only spent 
SSiOOO of my own money on shooting 
SCREAM DREAM and that was because 
I was able to get $10,000 in pro- 
duction services deffered in ex- 
change for half the points. But 
if I had to pay street rates for 
all the services I got for free 
that would of cost $15,000. 
And even then it was shot on video 
so for the same amount of money 
I could make sonethlng like this 
on film. Of course that movie 
was shot on a lot of half day 
schedules where most of the shooting 
days were only A or 5 hours. So 
it was scattered out over a long 
period but it is more econondcal 
to do a movie if you shoot it in 
a real concentrated period. 
two consecutive weeks and shoot 
it in 12 hour days because you 
can get everybody in and get them 
out and thats one way you can keep 
your budget down. Its harder to 
work when your doing it like that 
but you can save a lot of money. 

0; So what happened to I SPIT 

OF; That had a title change, but 
it's not long enough as a feature 
to market right now. That's sort 
of in limbo... I don't know if 
it's worth fini^ing. Camille 
Keaton didn't finish all of her 
shooting and there's not enough 
of her character to... not enough 
of her scenes that we need for 
the story to make it through, no 
matter how much extra stuff we 
shcot it still won't completely 
make sense. So I really don't 
know if it's worth finishing up, 
I tiiirk I'd rather take the money 

33 . 

. it would cost to finish that 
and just apply it on a complete- 

OFs Uh-huh. She got mad at us 
because we changed some of the 
dialog and she is not very good 
at memorizing 
lines. And then 
she got in troiAle 
for doing that 
other movie that I 
was production 
manager on... that 
$300,000 movie 
called NO JUSTICE 
that was shot in 
35nni... because 

union movie and 
somehow the Screen 
Actors Guild found 
out she did it, 
they caught her 
before - the 
SAG - recently, 
and now I under- 

probation with the 
Guild for doing 
our movie. But 
that movie, that I 
was production 
manager on and 
acted in, it's 
right now in It's 
4th week of the- 
atrical release in 
Tennessee. It's 
doing teal good, 
it's playing at a 

out pulling the 
other 3 movies. 

That's the only 
have been involved 
theaters. The 

movie had a bigger budget, the 
total budget was about $350, XO. 
lilorking on that movie was like 
2 and a half months of solid work. 
It had 5 weeks of pre-production 
and a 6 week shooting schedule. 

is there any chance you'll have 
any theatrical releases? 

DFs Well, footing on the Super 
16min well... we'll have a negative 
so if anyone wanted to core and 
give it a theatrical release all 
they'd have to do is come and match 
edit it. But we're not going to 

the ultimate orgy of evil 

OFs No. ..we'll just have it in 
storage so if there's any need 
to match edit it - it will be there 
...we'll just keep it in storage. 
But, the main advantage for shooting 
on film is that you can charge 
more per country when you sell 
rights, rnost companies will pay 
more for something shot on film 
and then also 
there's alot of 
extra countries 

that you can sell 
to that usually 
don't like to buy 
stuff shot on video. 

Film Festi- 
val, you talked 

to the distribu- 
tors, did they 

tell you what they 
were looking for? 

OF: All of them 

said that their not 
looking for horror 

movies. Everybody 
says horror Is 

dead. The only 

horror movies that 

will make any money 
are the big name 
ones like Clive 

Barker and Stephen 



push for that, the reason we're 
shooting on film is because you 
can do it for almost the same money 
that you can shoot on video. ■ . 
just slightly mote... 

0: So you won't even bother cutting 

Ot that 

wanting to see 


DF: They said 

they want action 
movies... action 

movies and erotic 
thrillers like 


is what they said 
they liked. And 

then again, some 

of the individual 
countries I talked to like Austra- 
lia said that horror movies are 

atm a big market there so it 

just basically depends on who you 
talk to. But even if horror movies 

are still marketable I would say 

that definitely there is no longer 
any market at all for the extremely 

34 . 

gory slasher films of like the 
early 80's.-> the market for that 
has completely dropped out. Outside 
of these FRIDAY ThC 13TH sequels 
theres really no market at all 
for those. 

Os It seems Japan uiould still 
be big on that. . . 

DFs Yeah but. nobody going to 
make a movie so they can sell to 
Japan and not be able to do anything 
else for it with tt® rest of the 
world. The ideal way is to have 
something you can cross market... 
like UATnPIRE COP is a project we 
can cross market which means For 
countries that don't like horror 
movies we're going to call is SLOU 
KILL and we're going to market 
it as an action movie, down play 
the horror elements. And for coun- 
tries that are big on horror we'll 
play 14) the horror elements and 
caU it VAWIRE COP. So we're 
designing from the start with two 
titles and we'll change the title 
depending on the country we're 
trying to sell to. That way we 
can hopefully double our chances 
for making more sales. And also 
because of the super 16mm format 
idien they look at the review tape 
they hopefully shouldn't be able 
to tell that from JSmii because 
the footage that I've seen shot 
on Super 16mm before - it doesn't 
look any worse than the NO JUSTICE 
movie we did - shot in JSnni - I 
couldn't really tell the difference. 
IC«n you shoot at 30 frames per 
second you drop out all the grain 
and you get a really high resolu- 
tion image. And also Eastman has 
some new film stocks in 16m which 
are much sharper resolution than 
previous stocks so if you combine 
30 frames per second with the new 
film stocks you can ceme up with 
an image thats very hard to tell 
that its not 35mm. 

Ds Is the stock much higher than 
regular 16mm? (note: when asking 
this question I was thinking of 
another super 16nir that doesn't 
alter film speed but the the actual 
film itself by using a single 
perferation and extending the 

film gate, increasing the frame 
area by as much as 24 per cent). 

DFs No, its not any different 
whatsoever.. .what costs more is 
just more stock because instead 
of running it through the camera 
at 24 frames per second your running 
in through at 3D frames. All that 
means is your using the exact same 
stock, its just that your using 
more of it so you have a higher 
cost in your budget for film stock. 
Yeah, I don't have any plans to 
shoot on video for features... 
unless things change dramatically 
its much safer, from a investment 
standpoint, to shoot on film be- 
cause your protecting your invest- 
ment better. Your increasing the 
odds that you'll be able to sell 
it and that you'll be able to sell 
it for more money. I've never 
heard of anyone, who ever made 
a video movie, that got as much 
as we got for SCREAPI 0REAI»l for 
our US deal because we got a $10,000 
advance. Usually a shot on video 
movie, I've never heard of anyone 
selling one for more than $5,000 
for a US video because they usually 
don't p>ay that much for shot on 
video. The only reason we were 
able to get a better deal on SCREAFI 
DREAn was because it was the same 
people who bought CANNIBAL HOOKERS 
from us, and so we had kind of 
a track record with them... and 
they're even using that on the 
advertisment for SCREAM DREAM - 
they're saying. .."from the director 
of CANNIBAL HOOKERS". (laughs). 

D» Did you sell many foreign mar- 

OF5 lile sold five countries alto- 
gether so far. life have more under 
negotiation right now. ■ . 

Ds You originally started CANNIBAL 
HCDKERS in Florida with Hilary 
Lipton, did the story change much 
when it was moved to California? 

DFi It was completely changed... 
totally different script. The 
stuff we started shooting with 
her was a completely different 
storyline. Hilary played a hooker 

who was killed by her pimp and 
he sells her body to a doctor doing 
blood transfusion research wfiere 
he turns people into cannibals 
through re-animation, so it kind 
of borrows from the RE-ANIMATOR... 
but he buys her body from this 
pimp that killed her and when he 
brings her back to life she goes 
around trying to get revenge on 
the pimp and the people that screwed 

Os Are you going to re-use that 

DF: No, I don’t think so... at 

least not for WAMPIRE COP, it's 
another story line altogether. 

0: lilhat's that about? 

DF: It has a police detective 

doing vanpire/vigilante type things 
against criminals. The police 
lieutenant doesn't know which member 
of his force is doing this so he 
kept in the dark although we let 
the audience know pretty early 
who the detective is thats actually 
the vampire cop. There's a female 
disc-jockey that gets involved 
in it because of calls she's been 
getting to her show so she starts 
investigating it and starts Falling 
in love with the detective but 
she doesn't know he's the vampire 
cop but she starts suspecting it 
and at the same tine there's an 
organized crime boss who wants 
to kidnap him because his idea 
is to take his blood and turn all 
his thugs into vanpites with the 
idea of having an indestructible 

crime force thats bullet proof 
and can walk into any place and 
steal anything they want... the 
only thing that could kill them 
would be daylight. 

D: Since your shooting in Florida 
is there any chance you'll be using 

DF: She lives in Miami and we’re 
shooting it 400 miles from Miami 
so I sort of doubt she can come 
Lp....she has a regular job. 

Di So you haven't talked to her 

35 . 


Hilary uas aluiays doing retakes..! 

DFs No, not lately. I knew a 

friaod of mine offered her a role 
in KILLING SPREE and she never 
called him back... she didn't seem 

though the girl that iiias the star 
of my first movie, Flary Fanaro, 
uiho uas also the star of Tim Rit- 
ter's TRUTH OR OflRE, she's been 
doing pretty uell lately, she's 
been getting alot of big jobs. 
She just had a major 35nm movie 
with about a half million dollar 
budget uihich she’s the star in 
- that opened theatrically in Flori- 
da - called VICTim. lilhich is 
a romantic drama about people 
with Aids that are spreading it 
causing an epidemic... she uas 
also guest star on frawil VICE, 
one of their last shows. She was 
also the spokesperson for Pontiac 
one year with their line of cars. 
She's gotten alot of big jobs since 
she's done our two horror movies. 

Dt Uas she a problem to work with 

on dehon queen? 

DF: No, ^e did everything perfect 
the first lake... she was the least 
problem of anybody - 1 just wish 
everyone uas like her. She never 
messed • up a thing... of ccurse 

D: She lotted a little better... 

DFs Yeah, Hilary uas alot cuter 

Os Gary Levison uas co-producer 
on CANNIBAL HOOKERS, what was the 
deal with him - is he in prison? 

DFs Yeah, he's still in prison... 
the lest I heard he had to do 8 
more years before he uas eligible 
for parole. But the reason he 
had to do so njeh time is because 
he tried to escape. He wasn't 
doing so much time for what he 

uas originally arrested for - he's 
doing alot of time because he tried 
to skip the border and go to rtexico. 
...if he hadn't tried to do that 
he would of been free by now. 

Dj lllhat exactly did he do? 

OF: He had a mail order corpany 

that had those sexual fetish tapes 
... they we're trying to get him 
for those although I think the- 
only thing they could prosecute 
him for was a tape that he didn't 
even make that he was sub-distri- 
buting that had a animal sex scene 
in it... as fat as I understand 

that was the one he uas actually 

0: He seemed to be doing pretty 

uell before he went to priswi... 

DF: He uas involved with a whole 
lot of movies. 

D: Your book, with Bill George, 

SCREAfI QUEENS is out now. 

OF: Uh-huh, It's just out. 

0: Uhat happened to your SPLATTER 
TIPES book? 

DF: Well, Onis is pretty much 

all the meterial that was going 
to be In the SPLATTCR TIPES book 
ue just changed the name. From 
SPLATTERPIANIA to this nane because 
we decided to put more emphasis 
on female actresses. Than I still 
have alot of Italian interviews 
left over with different Italian 
directors so I'm doing a special 
long issue of SPLATTER TIftS where 
I'm going to put all those in and 
that will come out in about 4 or 
5 months. That will will be called 
SPLATTER TII1ES 9, I think... it 
will be sub-titled something like 
have interviews with Paul Naschy, 
Lamberto Bava, Lamberto Lenzi, 
Ruggerto Oeodata and other European 

D: You met less Franco, uhat uas 
he like? 

OF; He uas very friendly, very 
knowledgeable, very interested 
in American films - those are his 

favorite. Europeans worship American 

directors and have very low opinion 
of their own countries movies. 
He worships Richard Dormer and 
Steven Speilbeig. He said his 
favorite horror movie directors 
are Brian DePalma and David Crone- 
burg. He's a big fan of 40' film 
nolr and he's a big fan of American 
jazz music - he's a former jazz 
rnjsician himself... before he was 
a film director he was a trunpet 
player. In fact, in his movie 
IfENUS IN FURS he cast himself as 
a jazz musician. He loosely based 

36 . 

t^e character on himself because 
the lead character Is a Jazz trumpet 
player which is what he used to 

0: His wife, Lina Roney, directs 
•ovies too.... 

DFt She directs adult films, and 
on the films she directs he usually 
acts as director of photography. 
She never directs normal movies, 
only adult movies. 

0: How old is she now? 

0F« Early 30's I'd say. I think 
she made her first movie for him 
tfen she was in her late teens. 
I don't know when they got married 
...he's Sg or 60. 

Di Once you get to the point of 
getting the money you really want 
is there any movie that you would 
like to make? 

OFt lilell, shooting on ISnin a good 
budget to aim for is about a half 
■illion dollars but beyond that 

...if you had that mudi money... 
the crdy thing extra money will 

do Is buy bigger stars. I've talked 
to two different agents that repre- 
sent different actors that 1 may 

went to hire. Just to see how much 
their charging. The more money 

you get the more people you can 
hire... of course one reason movies 


cost so much is if you shoot them 
in NY or LA you have to pay union 
fees which makes everything ridlcu- 

Di So you don't have any goals 
for working for a major studio... 

DF: Well, that's a possibility... 
it's nothing to think about... 
all you can do is the best you 
can with the budget you've got. 
If something like that tMjld happen 
it would be nice but there's not 
much point in thirking about it 
because it's a very slim possi- 
bility.,. (laughs) ...realistically. 

D: Are you finding it very hard 

to sell to video companies now? 

OF: No, I've never had any trouble 
...even DEMON QUEEN, which was 
pretty awful... technically sloppy 
... we were able to get a video 
deal with that so I've never had 
a problem getting video deals al- 
though now shooting on fiim from 
now on I'll Just be guaranteed 
I have less of a problem in the 
future. I'm sure if I keep shooting 
on video I'll have problems down 
the road because the ccmpany that's 
distributing SCREAM DREAM told 
us It was alright for this movie 
but in the future they don't want 
us to shoot anything else on video. 

D> There eeems to be alot of movies 

37 . 

flooding the market - it seems 
harder for the little guy to get 
something out. 

DF: Uell, I usually try to deal 

with some concept titles... some- 
thing thats catchy and stands out 
from the other titles on the market. 
One trick is to design a title 
that makes your product stand out 
and gives ycu an idenlty on the 
market. And also I try to have 
lots of publicity... I say we get 
much more publicity for our low- 
budget movies than alot of pei^le 
do that have half million doilat 
budgets.’ So far on SCREAM DREAM 
we've had photo's in FANGQRIA, 
a two third page color lay-out 
and in France we've been in four 
magazines, three of them gave us 
full page color lay-outs, lile've 
been listed twice in VARIETY - 
we've gotten a lot of publicity 
for such a cheap film. CANNIBAL 
HOOKERS had tons of publicity... 
we had a write up in the LA TIMES 
CALENDER. The more publicity you 
get on a movie then you can take 
those press cliwings when you 
go to the distributor and show 
them those along with the movie 
and it gives them the itvpresslon 
that it may be not such a bad idea 
to take on this project since there 
has been so much attention given 
to it already, lust saturate the 
press and get alot of publicity 

for the mouie that uay you can 
make it stand apart from all the 

somebody ulll pick yours up>>> 
Oecauae It Is very cunpetitive. 
ftnd another thing to avoid - I 
thirtc is Just to avoid making a 
generic sounding film uith a generic 
sounding title. People have a 
hard time telling it from all the 
other movies. Like for exaiiple... 
Don Dc^iler guy from Baltimore just 
made a movie called BLOOD PIA5SACRE 
uhich is such a boring generic 
sounding title, I don't think he'll 
have any hcge in making that stand 
out on the market... 1 think a 
title like CANNIBAL HCXKERS is 
catchy enough, it makes people 
curious. .. uith a title like that 
it's easier for people to remember 

- it sticks In your mind. 

□i Everyone does sequels nou a 
days... is there any chance of 
you doing a sequel to any of your 
earlier movies? 

DF: No, 1 don't think so (laughs). 
I don't think there is enough of 
a market to Justify doing a sequel 
to a shot on video movie, flaybe 
one of these things ue do on film 
... maybe ue'll do a sequel to 
one of those. Like if UAIiPIRE 
C(P turns out there mould be more 
reason to do a sequel to that. 
had a pretty decent release for 
a shot on video movie... it's in 
more video stores than slot of 
movies I know that were shot on 

3arm. That's the only one that 
was shot on video that I would 
conceive to doing a sequel to, 
I wouldn't even think of doing 
a sequel to SCREATl DREAPI. If it 
would of been shot on film it may 
of been different... in fact, we 
got a film call from Lkiiversal 
Pictures acquisition department 
when ue were shooting... they Just 
read about it in VARIETY, and they 
wanted to know if it was available 
for acquisition. Df course, they 
didn't know It wasn't 3Snni... so, 
they told us if we hed been shooting 
in 35rfni that they mey of been in- 
terested in picklig It up. I guess 
Universal liked the title... it’s 
the only time I've had a call from 
a major studio about one of my 
movies (laughs). 


as graphic or as spellbinding as 
the FRIDAY THE 13TH' SERIES, these 
shorts were likewise good in their 
own way. 

Mastroianni ackowledges he's 
a big fan of contemporary splatter 
masters such as Sam Raimi, Dario 
Argento and Stuart Gordon who 
directed the infamous Re-Animator. 
He has also complimented their 
work by saying their camera work 
makes their films, along uith the 
pulsating musical scores. 

During the summer of 1909, 
flastrcianni left his New York home 


-the original Leatherface — Hansen), 
and the heroine is played by Linnea 
Ray describes the Flick as "what 
would happen on a limited budget 
if scmeone decided to make an 
SAUI msSACRE. It's absolutely 
insane, more of a comedy than any- 
thing I've ever done, and there's 
a lot of blood and nudity and chain- 
saws. It's the total exploitation 

For the incredibly prolific Fred 
Clan Ray, he calls his profitable 
filmmaking "something to do [uith 
a smile], and I take a vacation 

to work in Canada for a brief time, 
filming in Toronto. There he worked 
on four neu FRIDAY THE 13TH episodes 
uhich should be aired by the time 
this article sees print, end one 
episode of UAR DF Th£ liJORLDS. 
He also remarked more would be 

For those familiar with I’lastte-.' 
ianni's longer work, rather than 
his television directing, fear 
not, for film offers constantly 
come in, particularly in the horror 
realm. He has also been encouraged 
by the positive responce to the 
video release of CWERON'S CLOSET, 
which seems to be his all-time 

after every movie because I go 
nuts. I do a director's cut and 
see them through, and still have 
time for the others." 

"It really doesn't take as long 
to make a movie as poeple think; 
generally you prep for four weeks, 
shoot for four weeks and, eight 
weeks later, you have your cut, 
and after your director’s cut you 
can overlap the next feature. 
The point is, if I weren't making 
films I'd be sitting around the 
house; I'm not lary and I don't 
want to just sit around the house. 
And what film fan, as I have always 
been, wouldn't like to work, and 

"I had a ball making that movie," 
he reflected. "I went over the 
top uith that one and took far 
more liberties. There's a shower 
scene, a homage of sorts to PSYCHO, 
that's devastated audiences, and 
the final battle between the humans 
and the demon in this subterranean 
cavern was real edge-of-the-seat 
stuff, I only hope the audience 
have as much fun watching this 
mouie as I had making it. 

Film-making and experience ^Tould 
come easily enough for Armand, 
as he is the cousin to rioted Italian 
actor Narcpllo flastroianni, al- 
though both seem a bit reluctant 
to admit the sane. 

shoot the shit, uith his favorite 
film stars?" he asked with delight. 
"It's like a fan's delight; who 

in their right mind wouldn't like 

making THE TONB and you had a part 
for an old curator, and if someone 
told you you could hire John Carra- 
dine, would you not hire him because 
It was only a bay part? No; if 
you're a Fan you'd JuRp at the 

opportunity I And I get a lot of 
signatures from the actors 1 work 
with," Fred Olen Ray smiled. 

(NOTE: Since this interview was 

conducted, Fred Rey has completed 

36 . 


ehonping on nice warm hnanan flesh. 
Unfortunately, If you get too close 
to the living deed or to sane stone 
idols buried in the sand, you are 

sire to fuck I 

D'Aneto, the director uho gave 
the world YOUNG PLAYTHINGS in the 
softcore 60's, THE GRim REAPER 
in the early gore days of the late 
7D'and the kinky necrophilia flick 
BURIED ALIVE in the early BO’s, 
has really gone nuts with this 
flick uhlch is best to be watched 
when it's very late at night to 
fully be appreciated. 

The last of our SEX/HORROR flicks 
up for review is the most recent 
film from former Goremeister, Lucio 
Fulci; THE DEVIL'S KINEY is one 

for the record books for sure. 
A wocnan in love with a famous saxo- 
phone player reaches orgasm while 
he's recording an albuni in a studio. 
Iilhen he stops playing and tries 
to approach her, she's not interest- 
ed, but when he starts playing 
again, she hops onto his musical 
Instrument and screws herself with 
his saxl After an idyllic romp 
on a motorcycle where our stars 
mutually masturbate at high speed 
(this looks dangerous), the young 
man takes a fall and later dies 
on the operating table due to his 
injury. The young girl freaks 
out and kidnaps the doctor uho 
operated on her beloved and chains 
him to a wall and treats him like 
a dog, tries to drown him in the 

ocean and forces him to watch her 
masturbate with red nail polish. 
After they finally fuck, she reaches 
for a gun at the side of the bed 
and the movie ends. 

Fulci, not a director known for 
his subtlety in the past has left 
bared brains for bated breasts. 
While the se* in the film could 
not be considered hardcore, it's 
kinkyness is surely hard to take 
if the only se* films you've ever 
seen are those featured on late 
night cable station in edited R 

There are plenty of more SEX/ 
HORROR films out there to review. 
If you liked reading these reviews 
drop a note to ORACULINA, maybe 
if enough of you readers want it, 
ax/HORROR could be a regular thing 
around here. 


erotic in a dramatic contest: 
"I would also do a totally erotic 
love scene - even, maybe make love 
with the actor (Steele inter- 
view by Tony Crawley). 

Needless to say the love affair 
with the visage and the acting 


the kidnapper turns his attentions 
to another potential victim as 
soon as the original dies, Wilder 
barely paused between the killing 
of one girl and the pursuit of 
the next. 

Wilder's actions were, of course, 
mote extreme than those of the 
kidnapper in Fowles novel, yet 
this is to be expected. Pluch has 
changed in the twenty six years 
since the book was piAlished. 
Today there are dozens of explicit 
films and magazines to supplement 
the sick fantasies of people like 
Wilder and Lake, and any one of 
these sources could serve as a 
"how-to" guide for conmitting un- 
speakable crimes. 

There seems to be an Increasing 
nunber of people who are suscep- 
tible to these pernicious influ- 
ences, as evidenced by the growing 
epidemic of serial killings in 

of Barbara Steele continues, and 
hopefully there are more chapters 
yet to be writtdh as tantalizing 
as the early ones. In the words 
of the poet Shelley, an apt homage: 

Ke/i hoA/Lon. and ti&A. ieautij 

our country. Certain individuals, 
who arlready have vague hopes of 
acting out their violent fantasies, 
may need only read a novel such 
as Tt€ COaECTOR in order for their 
plans to crystallize, as the cases 
of Wilder and Lake illustrate. 

Wiler began his career of sex 
crimes with some relatively innocent 
aberrations, such as stealing la- 
dies' underwear off clothes lines. 
Then began a gradual progression 
of increasingly bizarre sexual 
practices and escalating violence. 
None of this gave him the totally 
satisfying experience he was seek- 
ing, and it led, eventually , to 
multiple murder. 

Viewed in this light, a similar 
scenario can be imagined for the 
future of the abductor in the novel. 
It left off as he went out in search 
of a second victim, leaving the 
reader with a feeling that his 

ajie. dj-uJjie., 

Upon hen. LipA and eyeZidA 
AecMA to tie. 

LovettnePyj tike a tihudaui 
fnom ufiick AhJjie, 

Tleny and Lurudt 

itAuggidng undenneath. 

The. agonl&A oit angu-inh 
and of. death. 

next experience probably won't 

be any better than the first, and 
will have a similar outcome. After 
killing once, the rest will become 
easier, Fowles seems to be saying. 
In this respect, his work not only 
influences the behavior of psycho- 
paths, it predicts it as well. 
(*laybe Fowles realized, even as 
far back as 19B3, that crimes of 
this type are inevitable as the 
moral fiber of our society erodes. 
The effects that our changing social 
climate can have upon psychopa- 
thic individuals is explained by 
John Bartlcw fHartin in his classic 
study, WHY DIO THEY KILL?: "A 
psychopath can function well In 
an orderly environment. ..but a 
psychopath in a delinquent society 
does not function well. He is 
apt to kill." 

Therefore, we can expect to be 
bearing from more and more of these 
deranged killers in the future, 
as their actions are, even now, 
becoming quite cannon place. 

39 . 

BITS n* 


I don't knou... maybe I'm Just 
jaded on ell of the video review 
books on the market but you know 
how when you watch a really medio- 
cre movie how you say, "I cojld 
of made something that good",,. 
liJell, the same feeling applies 
when paging through John ItCarty's 
St> rtaitin's Press, 

Let's fact it - just about about 
anyone with a UCfl and rental money 
could of put this book together, 
It's not to say that it's bad - 
it’s not to say it's good either. 
I guess I've seen one too many 
movies and one too many reviews. 
I feel a person would be better 
off taking the $10.95 cover price 
and buying a subscription to one 
of the many horror newsletters 
around reviewing horror video's 
- that way you'll get reviews spread 
out over a year. 

It's, a take it or leave it book 
that ■! can really only reconmend 
to people who need reference 
material • 


Iile first talked about UAUE Pro- 
ductions back in Bit's n' Pieces 
In #8 - the company that is willing 
to tape a parson's script as he 
or she orders it. At that time 
they had some limitations - one 
was nudity. Iileli, now they do 
have two girls willing to do topless 
scenes for those who need it. 
Pictured in the next column is 
one of the girls who appears in 
a video titled INITIATION RITES. 
If you'd like to order this tape 
send $25 to litAVE PRODUCTIONS - 
RD #4 BOX 207 - CENTERTON, NJ - 
08318. Or send $1 for more infor- 
mation about their services. 




I was looking through the local 
B Daltons when I ran across flAKING 
P10VIES by John Russo. You know 
John, the guy who wrote NIGHT OF 
recently released PlAJDRETTES, 
It seemed sort of ridiculous to 
get movie making advice from a 
guy who's never really made a 
decent movie. (Yes, NIGHT OF TW 
LIVING DEAD is a good movie but 
I really credit that more the George 
Romero) But, after reading through 
this book - it is pretty interest- 
ing. There are remarks from other 
film makers such as Homerc, f'tooty 
Ross, Lizzie Borden, Sam Raimi, 
Tobe Hooper and outers. 

But this book really speaks more 
on the business end and Russo has 
a bad habit of side stepping any 
technical info on film making which 
I'm sure is disappointing to people 
purchasing the book for conplete 

But still, all in all, this 300 

40 . 

page book at only $9.95 Is still 
a pretty good buy. You can learn 
from other film makers experiences 
and learn a few things you might 
not have known of some of your 
favorite horror directors. Russo 
also includes various contracts 
at the end of the book that ate 
worth a look for ideas. 

For those wanting to laarn more 
about camera's, editing equipment 
and how to use it, double sound, 
single sound, lighting, filters 
and the different ty^s of film 
as well as every other aspect of 
actual filming I suggest by passing 
this book and purchasing either 
by David Cheshire ($22,50 Alfred 
A. Knopf publishing) or THE FILfl- 
MAKERS HANDBOOK by Eduard Pincus 
and Steven Ascher ($12.95 New Ameri- 
can Library). After getting these 
books then pick up Russo's boc* 
from Dell Publishing. 


I recently recieved a cassette 
from the Canadian mjsic scene called 
IT CAft FROn CANADA #5. As Dg 
Music sez, "It's got 16 cool songs 
by as many cool bands..." 

There is a variety of sounds 
on it though most sounds like 60's 
style music. A few songs stick 
out better than others like, CHAIN 
LET ELVIS DIE. A fun tape. 

To find out more about this tape 
and others - write to; OG MUSIC 
QUEBEC - H3J 21.1 - CANADA, 
fax; 514 - 939 - 7185. 


MKON R-10 prafessinal super 8mm camera. ID - 1 zoom, special effects 
plus extras - $300. Chinon 506 SnXL super Smm sound camera - with 
mike and case. Excellent condition - $150. Call 1-618-377-0761. CLASSIFIEDS 

PAMJEmNIUtf #3 featuringi JOHNNV ECK 
special guest staisl 200 pages. Over 
300 rare pictures, stills 4 photos. 
Send $15 total toi Jack Stevenson - 
171 Auburn st #11 Cambridge, MA 



8690 Aero Dr., Suite 303D 
San Diego, CA 92123 


Have your own horror movie 

I taped from your script 

I exactly as you order 
Details $1.00. Sample tape 


R.D. #4 BOX 207 

P ^6~D U CT I 6~N S CENTERTON, NJ 08318. 

TAPE - $35. 

WE PAY UP TO $1,000 



DEPT D PO BOX 931753-FG 

ncHin 1SIII815 rift, tio [acii, 
jroR 125 rosincL paid 

P.O. COX 15243 
PUllA., PA 15125 

r. AiUM-iw iiie iiuiaicwuviLLA/ittsiiHiiis./mic foiio laiisis 


Tired of the same old thir^g? These girls show you how they 
do it the "FRENCH" way with lingerie, garterbelt, bra. panties 
and sheer stockings (also hot pantyhose scenes) ... with you 
in mind to excite you and show you their lovely young sweet 
bodies, revealing their innermost secrets before your very 
eyes! We have over 240 solo girl and girl-girl strip-tease 
erotic videos. To introduce you to these fantastic videos 

we're offering the SUPER SAMPLERS! 4 VOLUMES - 2 

HOURS EACH for only $49.95 each! SPECIAL : Order 3 

volumes and we'll give you the forth FREE! VOLUME ONE 
has at least 40 titles - VOLUMES 2 & 3 - 26 titles and 
VOLUME 4 has 31 titles. Just look at the photo's on this 
ad for a taste of what you'll see (number on photo indicates 
the volume which they appear) So, send $49.95 each (plus 
$2.00 postage on first video and $1 for each additional) 

to; bust be 21 to order. 



42 . 

DROCULINA Ha i Toxic Torment, Video Vixen, Heroes 
in Drag, Hilary Lipton, Glen or Glenda, liliXliam San- 
derson, Horrifying But True, nemories of dishkin Part 

One, Bit’s n Pieces $5.00 

DBACULINA |5 ! The Diabolical Doctor Fetus, Waroties 
of dishkin Part Two, Barbara Crampton, Traoey Walter, 
Brain Pain, Bit's n' Pieces, Latiiberto Baua, ^gio 
Stiualetti, Horrifyipg But True, Ooe Bob Briggs... $6 .00 
DRflCULIMA 16 ! Herschiell Gordon Lewis, Dyanne Thorne, 
Sex Crimes, Nathan Schiff, Bit's n' Pieces, The 
Shuddering, God's Only True Phrophet, Shipment of 
Heads 53.50 

DRACULlNA il l Sean S. Cunningham, Tim Ritter, Camille 
Keaton, Brimstone Productions, Women's Amatuer Wrest- 

ling Association of Howell, The Spauin of Carmilla, 

John Waters, Bit's n' Pieces $3.50 

DBACULINA K ; Russ Pleyer Film Festiual, ftondo Neu 
York, Sex-Succubae and Surrealism, Zorbie Brigade, 
Horrifying But True, (taking of Timesweep, Bit's n 

ORACXINA |9 » Wishman-Steckler-dikels-Adamson Film 
Festiual, Traci Lords, flaking of Dead Silence, Films 
of Jess Franco, Hollywood Confidential, Video Vixen, 
Return of Swamp Thing 



Two designs to choose from! Design A (left) 
or 6 (right). Shirt colors: red, blue, 
white or gray. Sizes: S, It, L, & XL. Please 
specify design and shirt color when ordering. 

" z'' iT 

- OR $22 FOR both! - 


Issues 1-5 sold for $2.00 each, buy all of them for 
$5.50. Each issue contains video reviews and ads. Single 
issues: $1.50 each. 


True facts on Richard Speck, Ed Gein, Elizabeth Bathory, 
Gertude Baniszeuski, Vlad Tepes and Winnie Ruth Judd! 
Special edition: $2.50. 


Full color 4x6 photo's of DRACULlNA models. $3.50 for 
a 3 frfioto set - see information on bottom of page 42. 


Young girl revives a mass murderer by mistakel Available 
on VHS videotape for $1B postage paid. See information 
on back cover. 

43 . 


PO BOX 115 
iMORO, iL 620671 









DRACULINA * PO BOX 115 " MORO, IL * 62067