Wednesday, February 25, 2015

"I don't need to see movies about real life. I'm living real life..." Director William Malone on Forbidden Planet, Klaus Kinski and his expressionist dream-film Parasomnia

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Director William Malone on his '70s Night Stalker spoof, working with Klaus Kinski, being a Beatle and his crazy expressionist dream film PARASOMNIA (2008).

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TV STORE ONLINE: Do you sit down and talk with people that say they are fans of your first film NIGHT TURKEY (1972) very often?

MALONE: Never! You're a fan of NIGHT TURKEY?


MALONE: Are you on drugs?

TV STORE ONLINE: No, but I wish I had been when I saw it for the first time! (Laughing)...Listen, there's much to point out regarding NIGHT TURKEY. Did you know that you and your friends spear-headed the "Turkey-ploitation" genre? You may have beat out BLOOD FREAK (1972) by a few months...

MALONE: I've never seen BLOOD FREAK.

TV STORE ONLINE: The killer turkey in BLOOD FREAK is just a guy wearing a turkey head, whereas, your killer turkey is an actual killer turkey.

MALONE: Well, I'm glad we fell the way of pop culture.

Friday, February 20, 2015

No Soup For You! Seinfeld's "Soup Nazi" Larry Thomas talks about his new book "Confessions Of A Soup Nazi"

Larry Thomas Soup Nazi, Seinfeld Soup Nazi

Journeyman actor Larry Thomas talks with TV STORE ONLINE about being the Soup Nazi on Seinfeld, his first break in the movies with exploitation film legend Don Edmonds and his new book Confessions Of A Soup Nazi.
Larry Thomas interview, Soup Nazi Interview
TV STORE ONLINE: I was doing a bit of research online today and I noticed a entire 2004 episode of The Oprah Winfrey Show on YouTube. It features the first reunion of the cast of Seinfeld, and during the show they play this lengthy highlight reel of the best moments of the show, and of the moments included is the "Soup Nazi". He's the only guest character featured in the highlight reel. What do you think that says about the Soup Nazi and how that character sort of struck fire in the pop culture zeitgeist?
THOMAS: It's really hard to say when you're in the middle of it, so to speak. For the last 20 years people have asked me how it feels. Then they mention the word "icon." I have to say that it doesn't feel like anything. I just feel like me. It really just made it easier for me to make a living afterward. It happened to me later in life. By the time I appeared on Seinfeld I had been a union card carrying actor for 15 years. Before Seinfeld, I had began to think that I had made a huge mistake. I was nearing 40. I was married, I had a kid, a mortgage and no viable way to make money. The acting thing just wasn't working. In fact, I was a ball-bondsman for many years while I was acting, and even that wasn't working.
But in the years after the Seinfeld episode aired, I got to do a lot of guest spots on other television shows. Those were fun. And that was my first foray into the world of residuals and re-airings. The fun part of television is that you can say to your friends, fans, or agent: "I'll be on television Thursday night." But it also introduced me to the world of getting cut out of a lot of things as well. Seinfeld spoiled the daylights out of me. Jerry [Seinfeld] left in almost every decent thing I did the night that we shot my scenes as the Soup Nazi for that episode. I've since heard from Glenn Padnick, the President of Castle Rock Entertainment, that the editor on Seinfeld actually cautioned Jerry by saying: "You're requesting too many of this guy's reactions. The formula is to get off the guest star when they're done talking." Jerry said, "I like his reactions. It's funny." That's why Jerry was so successful, and it's what set him apart. Even though Seinfeld in the end sort of created a formula, it was his refusal to follow any formulas that made it work. To finish answering your question though, I just have extreme gratitude about it all--because it allowed me to continue to be an actor.

Wednesday, February 18, 2015

Director Matt Cimber on his existential women's lib masterpiece THE GEMINI AFFAIR (1973)

Director Matt Cimber talks with TV STORE ONLINE about the shooting of his existential women's liberation masterpiece THE GEMINI AFFAIR (1973) starring Marta Kristen and Kathy Kersh.

The Gemini Affair (1973), Matt Cimber exploitation
TV STORE ONLINE:  I'm huge a fan of your film THE GEMINI AFFAIR (1973)....

CIMBER:  Well, you know--it was very strange. After I made the film I would travel to Europe and every time I'd go there I'd notice GEMINI AFFAIR playing at some type of film festival.  There was a small theater in the East Village in New York City that ran the film for six years.  They rented a film print of the film for six years!  I think the film was a little bit ahead of its time, and a lot of people weren't ready for it when I put it out.

TV STORE ONLINE: That's one of the things that attracted me to it.  You shot the film in '72 or '73 which would have been smack in the middle of the Women's Liberation Movement.  They must have had a field day with it...

CIMBER:  Oh yeah, they did. But, you know, the thing about that picture--the two girls were so daring in it.  They were both extremely talented.  Anne Seymour, was always great--so that was no surprise.    The real surprise was in how wonderful Kathy Kersh was.  She had been married at one point to Vince Edwards, who had played "Ben Casey" on television.    It was a hard shoot.  We didn't have a lot of money.  We shot it all in two weeks.  The two girls rehearsed though, for about three weeks prior to the start of shooting.  And, of course, Marta Kristen (Lost In Space) was a hell of a good actress.

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TV STORE ONLINE:  The script for GEMINI AFFAIR was written by a guy named "Harry Houdydu."  I have to assume that that's you writing under  a pen name?

CIMBER: I wrote the script with a co-producer.   We shot it up in a house in Beverly Hills.  I felt that I had the right elements to put the picture together.  I did most of the writing, and a lot of it--we wrote out of the girls working in rehearsals.     What we wrote was at times difficult for the girls to say because of the time in which we produced the picture.   But they also worked off of their instincts which, in turn, were attached to their emotions    Many people considered the picture to be an exploitation film at the time it was released--but I don't agree with that.

Friday, February 13, 2015

Actor James Wilder on THREE HOLES and a SMOKING GUN and ZOMBIE HIGH

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 Actor James Wilder (Model's Inc., Melrose Place) talks with TV STORE ONLINE about the cult classic ZOMBIE HIGH (1987) and his starring role in 3 HOLES AND A SMOKING GUN (2014).

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TV STORE ONLINE:   I grew up as a fan of your work in ZOMBIE HIGH (1987) so I'm really excited to talk to you..

WILDER:  Oh my God...That had Sherilyn Fenn and Virginia Madsen in it...I was on the Conan O'Brien show once and Virginia's brother Michael was on there as well, and because I have this history as a street performer where I used to juggle running chainsaws...Conan asked me to juggle machetes on the show, and I really didn't want to do it, because I had never used those knives before.  I said, "I'll do it only if someone lays underneath me..."  I said that because I figured that in doing so --no one would agree and I'd get out of having to do it.  But Michael Madsen said, "I'll do it."  It was psycho bad boy actors night on Conan's show--which explains why I was there too. (Laughing)     What was I supposed to do?   Madsen laid down in front of me and I said to him,"I hope this goes well, because you're one of my favorite actors."  He said, "No problem." 

Wednesday, February 11, 2015

Star Francine York remembers Larry Buchanan's CURSE OF THE SWAMP CREATURE

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Actress Francine York (The Family Jewels, Tickle Me, Batman) on the shooting of Larry Buchanan's B-movie cult classic, CURSE OF THE SWAMP CREATURE (1966).

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TV STORE ONLINE: How did CURSE OF THE SWAMP CREATURE (1966) come to you? Did Larry [Buchanan] offer you the part or did you have to audition for it?
YORK: I had just done a picture called SPACE PROBE TAURUS (1965) with [producer] Burt Topper. Larry had done some work for Samuel Z. Arkoff and when he decided to make CURSE OF THE SWAMP CREATURE--Sam suggested me to Larry. I flew to Dallas for the movie. We shot all the interiors there. One of the funny things that I'm reminded of every time I see the picture today is the shooting of that scene where my character first sees the monster and screams. When I first saw the picture I noticed that she doesn't scream. There is no sound coming out of her mouth. I said to Larry, "Are you going to dub in my scream?" It never got fixed. It's quite funny.

Thursday, February 5, 2015

Actor Ernie Reyes Jr. talks with TV STORE ONLINE about the making of Red Sonja

Ernie Reyes Jr., Ernie Reyes Jr. Red Sonja (1985), Prince Tan Red Sonja
 Actor / Director and Martial Artist Ernie Reyes Jr. talks with TV STORE ONLINE about the making of RED SONJA.  

Brigette Nielsen Red Sonja, Paul Smith, Dino De Laurentiis
The cast of Dino De Laurentiis's RED SONJA (1985)
TV STORE ONLINE:   How did RED SONJA (1985) come to you?   You must have shot it following THE LAST DRAGON (1985), no?

REYES JR:   It was shot right after that, yes.   They were having auditions at the Beverly Hills Hotel and Dino [De Laurentiis] was there.  I was twelve-years-old.   I felt like I was in that classic Hollywood moment.  I went in to Dino's private bungalow to audition and I ended up coming back to audition for him  two or three times.  He liked that I studied martial arts and it may or may not have effected how the character was initially imagined in that ensemble.

TV STORE ONLINE:   What do you remember the most about the shooting of the film?

REYES JR:  Well, just that it was one of the best times of my life in the movie business.  We shot RED SONJA over in Italy and we were there shooting for five months.   We would ride horses everyday around the country hillside and the sets for Red SONJA were just incredible.   They actually built that castle as it appears in the film.     It was amazing.    I was, obviously a fan of Arnold Schwarzenegger already--because my dad was into fitness. 

Tuesday, February 3, 2015

Director Katt Shea talks about her 1980's Roger Corman produced films

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 Writer/Director and Michigan native Katt Shea (SCARFACE, POISON IVY) talks with TV STORE ONLINE about her films STREETS, STRIPPED TO KILL 2 and DANCE OF THE DAMNED.

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It's become a bit of a cliché over the last century. It's been a story that is often told on the big screen, in gossip magazines, print biographies and on television specials.  How many times have you heard the story about the actor or actress that packs up everything and takes off to Hollywood to pursue their dream of being in the movies?   It's idealistic. It's gutsy. It's the stuff of legendary Hollywood mythos, and it often feels too good to be true.  While we've all become very familiar with this story-line over the years, the difference between this well-crafted story and the story, history and career of Katt Shea is that it actually happened.

At 19 years old, writer/director Katt Shea packed up a beaten up Volkswagen in Detroit, Michigan.  She left her job as a teacher and took off across the country to pursue her dream of working in the movies.  Arriving and quickly finding work as a actress and model, Shea would land roles in now cult films like BARBARIAN QUEEN, SCARFACE, PREPPIES, PSYCHO 3, MY TUTOR, and the fun romp of HOLLYWOOD HOT TUBS.

Shortly after, Shea would penetrate into the Roger Corman camp of the mid/late '80s.  She would team up with fellow writer Andy Ruben and the two would pen some of the most interesting yet very under-seen and under-rated films in all the Corman library.  The Shea / Corman films of the late '80s are sexy and fearless.  Dark sexual tales, highly visual, dream-like, and wonderfully written character studies of tragic Californian deviance.  Films like, STRIPPED TO KILL 2: LIVE GIRLS, STREETS and DANCE OF THE DAMNED are demanding, and are required viewing for any true cinephile.