ATLRetro

by Aleck Bennett
Contributing Writer

It’s been over three years since we first witnessed the infamous bloodthirsty biker gang, the Impalers going mano a mano with Sasquatch in DEAR GOD NO! (2011), James “Jimmy” Bickert’s lovingly crafted 16mm shrine to All-Things-Exploitation. Turns out that while Bickert has been busy doing things like helping resurrect the World Famous Drive-Invasion, he’s been working all the while on his film’s long-awaited sequel, FRANKENSTEIN CREATED BIKERS! Filmed in glorious 35mm, the sequel will find our anti-heroes reanimated and back on the trail of Bigfoot while also trying to elude rival gangs, the law, bounty hunters, mutants and a femme fatale with a thing for explosives. If the wild description and upgrade in film format hasn’t clued you in that Jimmy Bickert is aiming for a bigger spectacle than before, he’s also added genre favorites like HUMAN CENTIPEDE 2’s Laurence Harvey, HEADLESS’ Ellie Church and AMERICAN MARY’s Tristan Risk to his ensemble of returning actors including Kool Kat Shane Morton (Silver Scream Spookshow, Gargantua, Atlanta Zombie Apocalypse), Kool Kat Jett Bryant (Bigfoot), Nick Morgan (Splatter Cinema), Bill Ratliff (Truckadelic), Kool Kat Madeline Brumby, Jim Stacy (Pallookaville, Get Delicious!, Offbeat Eats) and many more!

As with DEAR GOD NO!, FRANKENSTEIN CREATED BIKERS went directly to its potential audience for support through a Kickstarter crowd-funding campaign, and met its budgetary goals with time to spare. But the campaign still rolls on, with insane perks (ranging from the expected DVDs and Blu-rays to tattoos, personalized burlesque videos, on-screen appearances, decapitated heads and biker jackets) on offer for those willing to pony up and help move the movie through those heady days of post-production and distribution. Check out the full range of rewards here, because there’s still time to be a part of exploitation film history!

Kool Kat Madeline Brumby and James Bickert

ATLRetro caught up with Jimmy Bickert for a quick rundown on what’s coming back for FRANKENSTEIN CREATED BIKERS, why going with crowd-funding made sense for this project and what you should be watching while you wait for this tale to unspool on a theater screen near you!

ATLRetro: First off, why a Kickstarter for FRANKENSTEIN CREATED BIKERS? Are there any inherent advantages with going this route over taking an indie co-production deal?

Jimmy Bickert: It’s very difficult to pitch an idea like FCB to anyone. No sane person would get involved with such a rotten picture. (laughs) That’s the beauty of crowd-funding. We can rebel against what is trendy in the marketplace, even micro sub-genres of horror, without worrying about someone’s return investment. It’s freedom to put what we want to see and experience on the screen without having to placate or conform to the expectations of the general public, too. Nobody on this production team has any interest in doing anything we’ve seen before or a hundred times over for that matter. If we can look at the screen and laugh together, the journey was a success.

You’ve assembled some great bonuses for investors, ranging from special DVDs and Blu-Rays to posters and international distribution rights (!!!). What can folks looking to invest via Kickstarter expect to get when they pony up their dough?

DEAR GOD NO!

We’ve reached our goal but WE NEED MORE MONEY FOR POST PRODUCTION! (laughs) They will immediately know they’re dealing directly with like-minded cinema fans. Many Kickstarter rewards tend to distance themselves from the contributors by offering digital downloads. How lazy and impersonal is that? I’m going to address a package and physically mail it to you. I may even throw in something extra and if our paths cross, we can share a beer together. We’re not looking for something for nothing. Many of the rewards are designed to get people involved and let them be a part of this project. We’re building a community and not trying to step on people so we can hang at L.A. cocktail parties. There is a level of smugness you find in the Indie film festival scene that is absent among the horror Indies. We tend to embrace our audience and drag them along for the ride.

Okay, my two main fascinations growing up were anything related to Bigfoot and Frankenstein. DEAR GOD NO! did Sasquatch proud while taking on other sub-genres—biker flicks, mad scientists, etc. What new ingredients are you bringing to the Frankenstein template?

We’re reviving everything you mentioned. There is a plot device in FCB very similar to the Shaw Brothers’ Kung-fu films and Spaghetti Westerns where we introduce three “larger than life” bounty hunters. I’m most excited about incorporating elements from one of my favorite sub-genres—the Talking Head movie. Since the script has just about everything, I would love to incorporate a kitchen sink into a death scene. (laughs)

Last time out, you nearly burned down one of the screens at the Starlight staging a van explosion. Do you have anything new planned that has the potential for that kind of destruction with FRANKENSTEIN? We do. Much more controlled this time around but yes, there will be some explosions. Shhh! I’m trying to secure my production insurance policy! (laughs)

DEAR GOD NO!

You’re shooting this on 35mm, which is both a step up from DEAR GOD NO!’s 16mm and away from the mainstream’s adoption of digital as the norm. What led to this decision and what qualities would you say 35mm offers you over the other two formats? In other words, how is this going to affect FRANKENSTEIN CREATED BIKERS’ look?

We’re shooting on 35mm to have that connection to cinematic history on the set. I like a hand-crafted aesthetic that doesn’t resemble a Marvel blockbuster. Visually I can tell the difference. It appears more natural to my vision – especially with some good lenses. The medium will definitely help convey the late ‘70s visual connotations we’re trying to achieve. Due to the lack of availability for independents, this is probably our last chance to shoot on film so we’re going to make it count.

In addition to the returning DEAR GOD NO! ensemble, FRANKENSTEIN CREATED BIKERS features contemporary genre notables like Ellie Church, Laurence Harvey and Tristan Risk. How did you wind up casting them?

They’re all great people that I’ve met at Horror conventions while promoting DEAR GOD NO! or was introduced to by friends like director Jill Sixx Gevargizian. Not only are they being brought in because they are talented and right for the roles, but they are also genuine people who will fit right into the homegrown talent we already have. I’m looking forward to seeing what they bring to their characters and watching our world-wide horror community get closer.

Any other people from behind the scenes coming back for this entry (music/crew)?

Pretty much everybody. We have a good group. If anything, we’re just adding more people. Bryan G. Malone and Adam McIntryre (The Forty-Fives) will be handling the soundtrack again with the brilliant Richard Davis (Gargantua) composing the score. Post-production sound doesn’t get a whole lot of direction from me. These are some of the most talented people I know and they deliver the goods.

Lastly, you’ve got an encyclopedic knowledge of exploitation greats. Give us five things you’re into at the moment that we should be watching right now—directors or movies, past or present, well-known or obscure.

Brian Lonano‘s CROW HAND (2014) is big right now. It’s a bloody good mess of a short. I’ve been so busy writing that I’ve been avoiding my genre fan responsibilities. There is a ton of stuff I’m really looking forward to seeing like Astron-6’s THE EDITOR (2014), Arthur Cullipher’s HEADLESS (2015), Stephen Biro’s AMERICAN GUINEA PIG (2014), Adam Ahlbrandt’s HUNTERS (2015). Everything Richard Griffin and the Soska twins (Jen and Sylvia Soska, ed.) are doing. Just to name a few. There is a ton out there. On my down time, I keep digging up Joe Sarno films from the ‘60s and revisiting Mark Haggard’s THE ALL AMERICAN GIRL (1973). You can’t go wrong with PAYDAY (1973), HONKY TONK NIGHTS (1978), THE OUTFIT (1973), LAST NIGHT AT THE ALAMO (1983) or PRIME CUT (1972). If you’re just looking for a fun creature-feature, track down Michael Stanley’s ATTACK OF THE BEAST CREATURES (1985) or Richard Cunha’s GIANT FROM THE UNKNOWN (1958). Ugh! Don’t get me started! I have a shooting schedule to work out and flights to book. (laughs)

All photos courtesy of James Bickert and used with permission.

By Melanie Magnifique
Contributing Writer

REFORM SCHOOL GIRLS (1986); Dir: Tom DeSimone; Starring Wendy O Williams, Sybil Danning, Linda Carol, Pat Ast; Taboo-La-La Series hosted by Blast-Off  Burlesque at Plaza Theatre, Sat. July 28; 10 PM; arrive early for a sexy live stage show courtesy of Blast-Off Burlesque, and special guests Vanity’s UnCanney and Poly Sorbate; Also riots, chainsaws, and pillow fights , a Wendy O. Williams and Reform School Girls Costume Contest and prizes from  Libertine; age 18 & over only; trailer here.

Blast-Off Burlesque will host REFORM SCHOOL GIRLS at the Plaza Theatre this Saturday July 28, as part of its “Taboo-La-La” film series. The film, which stars Wendy O. Williams of punk band The Plasmatics fame, is a satire of the women in prison film genre and intentionally features many of its more provocative elements, such as shower scenes, fight scenes and implied sexual relationships between inmates and authority figures in exchange for favoritism. Austrian-born Hollywood actress Sybil Danning plays the warden, and Pat Ast rounds out the cast as sadistic prison guard Edna.

As the story plays out, Reform School becomes a microcosmic version of society in which women are stripped of their dignity, terrorized, punished for and enslaved over their sexuality, and forced to lie to protect their captors. The only compassionate ally that the inmates have is the institution’s therapist, played by Charlotte McGinnis. Despite her best efforts, however, the crimes of mistreatment against the inmates finally spark an uprising which ends with a real bang.

Wendy O. Williams plays inmate Charlie Chambliss in REFORM SCHOOL GIRLS. New World Pictures, 1986

Blast Off’s own Dickie Van Dyke says this weekend’s salute to Wendy O is timely. “Wendy is the patron saint of women who whoop ass,” (s)he pointed out the other night at rehearsal. Indeed, it seems that women everywhere could use some inspiration in the whoop-ass department. The global climate towards us these days has many of us shaking our heads in disbelief, and, as Dickie says, “Decades after women’s lib, we still do not have total control over our bodies, we still battle to overcome the glass ceiling, lack of respect… and PMS! Apparently we have to kick everybody’s ass while wearing a bra and thong before our voices are heard. If that is the way the game is played, so be it. Wendy O will be our MVP!”

Other members of Blast-Off agree that the timing is just right for this show. Barbalicious says, “It’s time for us to rock out, and after spending some quality time in the ’60’s and ’70s with Russ Meyer, John Waters and Pam Grier, the ’80s seemed like a great place to continue our big-haired hijinks, but with much less clothes, because you know in reform school, you only need to wear your underwear. It’s also summer, and we’re hot.” She adds that the movie itself will be a blast, saying, “REFORM SCHOOL GIRLS is a ridiculously fun camp classic. All the classic women in prison elements are in place: shower scenes, food fights, forbidden romance, branding and other tortures, but then you add in the Wendy-O-Williams factor and it becomes just that much more surreal. Wendy-O is one of the hardest working women in rock and roll history. She is as hardcore as it gets; no female performer has or will ever come close her badassness. She beats the hell out of everyone in this movie. Those who are not familiar with her, need to be. Those who remember what the power of real rock and roll was about need to pay tribute.”

Taboo-La-La has been a wildly popular film series for Blast-Off at the Plaza Theatre. Previous films have included SHOWGIRLS, FASTER, PUSSYCAT! KILL! KILL! , FEMALE TROUBLE and BEYOND THE VALLEY OF THE DOLLS. Barbalicious says that its main purpose is to examine cultural taboos in film, but adds with a wink, “It’s really just an excuse for us to throw an amazing party.”

Festivities will begin at 9 p.m. DJ Westwood-A-GoGo will be spinning tunes in the lobby, where patrons can enjoy complimentary cocktails and mingle before the show begins. Once seated, the audience will be treated to a riotous performance by Blast-Off Burlesque, with guest performers Poly Sorbate and Vanity’s Uncanney. Audience members are encouraged to enter a costume contest to win prizes provided by Libertine. Tickets are $10, and are available through Plaza Theatre’s box office and at www.plazaatlanta.com.

By Jeremy “Puck” Turman
Contributing Writer

BEYOND THE VALLEY OF THE DOLLS (1970); Dir: Russ Meyer; Writer: Roger Ebert; Starring Dolly Read, Cynthia Myers, Marsha McBroom, Phyllis Davis, Charles Napier; Taboo-La-La Series hosted by Blast-Off  Burlesque at Plaza Theatre, Sat. June 2; 10 PM; arrive early for a sexy live stage show courtesy of Blast-Off Burlesque, all-girl band action from Catfight (featuring Kool Kat Katy Graves) and special guests Baby Doll, Patricia Lopez, Poly Sorbate and Turnin’ TriXXX! And enjoy Psychedelic Trip Punch while DJ Westwood-A-Go-Go spins in the lobby, compete in a Dance FREAK OUT Contest and win prizes from Libertine; $10; age 18 & over only; trailer here.

The first thing that came to mind when I was younger, and BEYOND THE VALLEY OF THE DOLLS was brought up, would have been a porno. I mean it is an X-rated title (or was until 1990 when it was re-classified as NC-17 ) It is in fact a Russ Meyer production—the [man with the] same creative energy that unleashed such classic american sleaze as THE IMMORAL MR. TEAS , FASTER, PUSSYCAT! KILL! KILL! and VIXEN! upon the masses. It also boasts a healthy dose of nudity-laced scenes littered with culturally taboo topics of the time, which has led to this film being widely considered the zeitgeist of exploitation cinema.

Now that I’m an adult, I have a much broader opinion of the film than just a porno. The story falls into place as three devilishly good-looking young girls in a band looking to make it big head to Hollywood to fulfill the most youthful of dreams, to be rock stars. Hollywood embraces the girls as quickly as a candy bar at fat camp and thus our adventure begins. Along the way they come across everything AND the kitchen sink . Here’s a quick rundown:

This girl Kelly (Dolly Read), band[Casey (Cynthia Myers) and Pet (Marcia McBroom), along with Kelly, form The Kelly Affair) and with boyfriend/band manager Harris (David Gurian) high-tail it to Los Angeles to make it big and find Kelly’s aunt Susan (Phyllis Davis), who has something to do with some money that could somehow be rightfully Kelly’s as well. Susan has an accountant that’s real sleazy and thinks the band are nothing but a bunch of hippies looking for a free ride. The band meets this totally awesome rock producer at a party, and, of course, he demands they sing/play and, of course, they do and, of course, they rock! So now this guy takes over as their manager and has them change their name to The Carrie Nations. This pisses Harris off and he goes on a bender. At this point a lot of nakedness and sex begin happening. Seeing as I haven’t seen this film in over 10 years and knowing the age I was at that time, being a younger man focusing in on the eye candy, the plot begins to fade. Although I can truly say the one thing that sticks out in my mind the most are the colors. Vivid rainbows of tacky print burned into my memory. What were they thinking?

The three gorgeous stars of Russ Meyers' BEYOND THE VALLEY OF THE DOLLS (20th Century Fox, 1970).

BEYOND THE VALLEY OF THE DOLLS has stood the test of time as an example of an era when moral fiber was more prominent in the culture of America and to release a film with such a lack there of was a slap in the face to the establishment from which it bears roots. It screams where’s the line and how far can I get past it before you stop me? How about a film filled with love, rape, murder, sex, dope, abortion and suicide? Sounds deep, doesn’t it? But it’s not. It’s really a film about nothing. Call it Cult Classic. Call it Sexploitation. Hell, call it Rabid West Coast Surrealism, but keep in mind what the narrator clearly states to close out the film’s trailer: “This is not a sequel, there has never been anything like it.”

When DEAR GOD NO! launched its world premiere at the Plaza Theatre last month, the Star Bar must’ve been empty. But while cast, crew and Kickstarter contributors filled many seats, the enthusiastic crowd also included plenty of curiosity-seekers, wondering if this homegrown homage to ’70s exploitation movies could deliver the over-the-top shocks it promised. From the enthusiastic audience response, it did and then some, making even this blogger, who has a high tolerance for cult flick violence, want to shout “DEAR GOD NO! they didn’t go there!” Now those who didn’t make it out will another chance to see it on the big screen when it starts a one-week run at the Plaza Theatre this Friday Oct. 21 through Thursday Oct. 27.

Shot in 16mm with ’70s period-authentic effects, DEAR GOD NO! follows outlaw motorcycle gang The Impalers on a tri-state rape and murder spree which culminates in a bloody massacre with rival club Satan’s Own in a dive bar (actually Tucker Saloon) with the added bonus of strippers in Richard Nixon masks with machine guns. Still keen to continue their rampage, the survivors invade a mountain cabin occupied by a scientist and his geeky daughter. And that’s when the depravity really begins as the bikers realize the scientist is mad, his wife is madder and the monster that lurks in the wilderness outside is maddest of all. Those who’ve been around the Atlanta alt-garage, Redneck underground and horror movie scene for a while will recognize plenty of familiar faces in the cast and crew including Shane Morton (Silver Scream Spookshow, Gargantua, Atlanta Zombie Apocalypse), Jett Bryant (Bigfoot), Nick Morgan (Splatter Cinema), Bill Ratliff (Truckadelic), Madeline Brumby (if you missed last week’s Kool Kat on Madeline, which includes her DEAR GOD NO! experience, read it here), Jim Stacy (Starlight Drive-In, Palookaville, Get Delicious!, AM Gold) and many more.

For the uninitiated, B-movies date back to the beginnings of film-making, but the ’60s/’70s variety – also called “grindhouse” movies thanks to the seedy cinemas they often played (when they weren’t at the dying drive-ins) – pushed the limits of onscreen sex and violence in such an audacious way that they gained a cult following and a new generation of contemporary imitators from Quentin Tarantino, who, with Robert Rodriguez, even produced a double-feature called GRINDHOUSE, to the makers of last year’s HOBO WITH A SHOTGUN. It may be tempting to dismiss DEAR GOD NO! as just the latest in that subgenre, but the level of affection, craftsmanship and fun (yes, strange words perhaps to be paired with an ultraviolent flick) elevate it – that is, if you have a strong stomach and buy into the filmmakers’ sense of humor. Yup, this movie is NOT for everyone.

Since last month’s opening, director/screenwriter/executive producer James “Jimmy” Bickert has taken DEAR GOD NO! out on the road to two festivals and it’s won at least one award.  We caught up with Jimmy recently to find out more about how DEAR GOD NO! is exploding Atlanta onto the underground film map, go behind-the-scenes during production and find out what’s next for the movie and its makers.

ATLRetro: Since the sold-out world premiere in Atlanta on Sept. 9, you’ve taken DEAR GOD NO! to two film festivals. What’s been the reaction there?

Insane. I knew a party would break out with the home team, but the reaction in Tucson & Las Vegas was equally outrageous. People were sneaking in cocktails, yelling, laughing, cheering, applauding and even giving me free beer and shots in appreciation. We picked up an award for Best Exploitation Film at the Arizona Underground Film Festival. I received so many handshakes and pats on the back in Vegas [Pollygrind 2011] it felt like we were running for office. Haven’t heard if we won anything there yet. I just got back. It’s starting to gain momentum as an ultimate party movie. Film festivals are rescheduling us at midnight, and that’s perfect for an exploitation film.

Let’s start in the beginning, what’s the story behind how you came up with the idea for DEAR GOD NO! and got it off the ground?

Shane Morton, Nick Morgan and I were tossing around some ideas and came up with the idea of a Bigfoot vs. Biker crossover exploitation film. Something you would see at the end of a genres cycle. Originally we were going to attempt to make a lost film from the ‘70s that had somehow resurfaced on DVD, but as I began writing it, the pacing was too fast for a ruse. It almost becomes an action film. I’ve always been a big fan of ‘70s exploitation trailers so I tried to create something that would incorporate the fun ballyhoo they delivered and sustain it for a feature-length running time. DEAR GOD NO! gives you bikers, horror, sexploitation, cool cars, blood, laughs, gross outs, explosions, boobs, Nazis, Bigfoot, lofty themes, crazy dialoguw and incestual lesbian rape! Never seen that one before? Well, we got it. According to the reviews, it all works. Whew!

What classic exploitation and horror films served as inspirations for DEAR GOD NO!?

It’s hard to pinpoint all of them because many are subconscious. The ones I’ve noticed the most coming through are DEATH WEEKEND (a.k.a. HOUSE BY THE LAKE) and I DRINK YOUR BLOOD. But there are some moments from Something Weird Video collections of stag loops, SAVAGE SEVEN, WEREWOLVES ON WHEELS and NIGHT OF THE BLOOD BEAST. We even rip on SCHINDLER’S LIST. The film is packed with obscure exploitation references, but they only enhance the script. If you don’t catch a reference, it won’t hinder the experience. Visually there are many pop culture influences like E.C. Comics and Men’s Adventure pulp magazines.

With DEAR GOD NO!, you push the limits for onscreen violence, nudity and gore. What were your parameters for what was too extreme, does anything in the movie make you uncomfortable, and is there anything you filmed that went on the cutting room floor because it was too much even for you?

I don’t feel anything is off limits if it fits the story. DEAR GOD NO! has ‘60-‘70s style nudity and gore so it may push the boundaries for what some people expect from that time period, but it never enters the realm of what critics currently call the torture porn genre. We crossed over into that realm with one scene involving a pregnant character. I kept enough in to give the audience a good jolt but most of it hit the cutting room floor. There has to be a good balance to keep things fun for the crowd and it was starting to push into nausea. The genre is packed with that stuff now and it’s not what DEAR GOD NO! is about. We’re more John Waters than HUMAN CENTIPEDE 2. It’s suds cinema for drunken friends and not porn for loners in raincoats.

OK, bikers and Nazis are classic ingredients for exploitation movies, but why Bigfoot?

Bigfoot is a staple of the Southern drive-in, and I wanted to cast him in a good movie for a change. He has been getting crappy roles since NIGHT OF THE DEMON. Atlanta has the ultimate Sasquatch/Yeti in Jim Stacy, so we had to exploit him.

What was your favorite scene in the movie to shoot and why?

The squibs were the most fun to shoot because the extras love it. There is such a look of shock when it goes off and everyone on set breaks into applause. I could shoot squibs all day. It doesn’t get old. My favorite scene in the film is when the inebriated biker gang runs across a hillbilly kid who has them completely perplexed. Even after seeing it 100 times, I cannot watch a festival screening without laughing out loud.

Why did you decide to shoot DEAR GOD NO! all in Super 16mm with equipment from the ‘70s? Were there any specific effects which you’re particularly proud to have accomplished in the traditional way, versus CGI?

I wanted it to be authentic as possible, and we really immersed ourselves in things from the era. There were props that didn’t make it on screen from the ‘70s, but it helped create the illusion that we were making a film in 1973. I want to go back as soon as possible. We were all pretty proud of our van explosion. That’s a classic practical effect that Hollywood has been getting away from by using computer overlays in After Effects. There’s a poorly [executed] CGI explosion in MACHETE when a car blows up but doesn’t move or fall apart. We couldn’t have that, and what good Southern film doesn’t have an explosion in it? Not much that I want to see.

The cast and crew boasts a who’s who of Atlanta grassroots indie scene of actors and artists including many of the same folks behind the Silver Scream Spookshow, Atlanta Zombie Apocalypse, Splatter Cinema, Starlight Drive-In, etc. You’re the writer/director/exec producer, but are you proud to share the credit with a homegrown team, especially as DEAR GOD NO! gets screened across the country and around the globe?  

When we show up at a festival, people know we are from the ATL. We ran up such a large tab at the gay bar next door to PollyGrind 2011, the owner said he should change his theme by replacing the rainbow flag with an Atlanta Falcons banner. Shane Morton and I drank a torture porn crew from L.A. under the table in Tucson. We even had an 8-hour start on them. Yeah, they know where we are from and we’re proud of it.

There are a ton of talented people in this town. I’m still amazed we got them all together. One of the aspects of DEAR GOD NO! that I’m most asked about is the music by The Forty Fives and the score from Richard Davis of Gargantua. There is a whole cast of musicians like Johnny McGowan, The Biters, The Booze, Adam McIntyre and Kris Dale involved that essentially come from The Star Bar including our lead actor Jett Bryant from the band Bigfoot and actor Billy Ratliff from Truckadelic. Just about everyone from Dusty Booze and The Baby Haters was involved. You will see a ton of Atlanta musicians as extras and Gargantua’s Creepy Kenny even built us a flame wand now in use at The Atlanta Zombie Apocalypse. There is a very big Star Bar connection with this film.

Seems like typical movie investors might get squeamish funding something this extreme, so it’s not surprising that to hear you used Kickstarter to raise some of the money and pulled some out of your own pocket. What was the budget and how was it funded?

You’re right. We had cast and crew drop out because they didn’t understand what we were attempting. Many people thought we were making porn or God knows what. It’s hard to convey that you are making a unique exploitation film when they don’t understand any of the references. Even worse if you’re asking someone to invest money.

It’s hard to really gauge the budget because so many talented people contributed time for free. Jonny Rej (Atlanta Zombie Apocalypse /The Plaza) gave us some free film and equipment, Slopes BBQ fed us, Fuji North America gave us ½ off on film stock for shooting a feature. It went on and on. It was a very quick shoot with a massive amount of preplanning between A.D. Michelle McCall, cinematographer Jonathan Hilton and I which helped keep cost, time and favors down. We didn’t wear out our welcome too bad. I do have a budget number, but I save that information for when someone buys me a beer.

After the Plaza limited engagement, what’s next for DEAR GOD NO! More festivals? Is there a distribution deal and when will it be commercially available on DVD/download? Is it true there’s going to be a sequel?

We currently have a quite a few distributors interested from all over the world. At the end of our festival run, we’ll sit down and start seriously negotiating which rights and territories we want to part with. We currently have festivals lined up in Raleigh, Erie, Mobile and Bogotá, Colombia. Theatrical screenings (mostly midnight) are booked in Portland, Ottawa, Toronto, Hamilton, Las Vegas and London. We’re adding screenings every week, and people can keep up to date by liking our Facebook page or checking the website at www.deargodnomovie.com. If you live in a town that shows midnight movies, ask for us or send me information about the theater.

It’s true there is a sequel in the works called FRANKENSTEIN CREATED BIKERS. It will have your jaw on the floor….again.

All art and photos courtesy of Big World Pictures.

As Halloween creeps close and THE WALKING DEAD returns to TV next Sunday, Atlanta Zombie Apocalypse (AZA) arises for its own second season with new sets and a new storyline at Safety Wolf, the vast paintball combat complex off Moreland Avenue, just south of I-285 (open Thurs.-Sun. nights through Oct. 31). Set in and around a two-story abandoned motel, this approximately 100,000-square-foot attraction was nightmared up by the maniacal minds of local horror Renaissance man/make-up artist Shane Morton (Silver Scream Spookshow, Gargantua, etc.) and Jonny Rej (Plaza Theatre). Not just your traditional walk-through haunts with jump-out monsters, AZA delivers a total immersion “experience” with a distinct plotline that lands visitors right in the middle of the zombie plague, interacting along the way with a variety of human characters from scientists and bureaucrats at the Center for Disease Development (CDD) (but can you trust them?) to commandos fighting the zombies with automatic weaponry (reminiscent of last year’s Mack and Johnson) to a twisted carnival of human scum who thrive in the chaos, reminiscent of John Carpenter’s ESCAPE FROM NEW YORK.  It’s sometimes hard to know who to trust but if someone says “run,” let’s just say you can be sure zombies are around and if you don’t, you may get bitten and infected with the plague yourself or worse eaten for your brains!

To get the scary scoop, ATLRetro caught up with Madeline Brumby, a brunette with a machine gun who is no mere scream queen but a key cast-member and also this year’s pinup girl for the “hero” side of the AZA. But that’s not the only place you can see this monster-loving maiden this October. She’ll also be acting in the 5th Anniversary Silver Scream Spookshow this Saturday Oct. 15 at the Plaza Theatre – and you know Prof. Morte and Co. will be pulling out all the tricks and treats given that it’s their Halloween show and the movie is a rare 35mm print of the Vincent Price/Lon Chaney Jr. (not to mention H.P. Lovecraft) 1963 classic HAUNTED PALACE (Read our Retro Review here). Then she’ll be taking to the streets for this Sunday’s Zombie Walk Atlanta, organized by Luke Godfrey (Splatter Cinema, Chamber of Horrors) and cosponsored by AZA, and again with the AZA group at the Little 5 Points Halloween Parade on Sat. Oct. 22. Finally Madeline also will be up on the Plaza’s big screen later this month (Oct. 22-27) as one of the stars of DEAR GOD NO!, a hard-edged/no-holds-barred homage to ‘70s grindhouse features about a hellraising motorcycle gang, a mad scientist and a sasquatch on the rampage. Yeah, the name makes total sense when you see the movie!

All of this sounds like horror heaven to us, so we had to make Madeline Kool Kat of the Week…

AZA 2011 T-short design by Dave Cook.

ATLRetro: This year’s AZA has the same basic concept but a totally new pathway and set of characters—loved the R.I.P. Mack and Johnson graffiti on the back wall. Without giving too much away, what’s new and different?

Madeline Brumby: We are all extremely excited about the new format. Of course, I’m sad to see Mack and Johnson go, but this year’s show is the sequel to the Mack and Johnson story. The versatility of the AZA to create and continue an apocalyptic scenario is really what gives the unique feel to the experience this year. And for years to come!

One of the cool things about AZA is every character seems to have a back story. Who do you play, and what’s yours?

Definitely! We had a patron come through the other night who was totally impressed that we had “real” actors with “real” stories. I’m a resistance paramilitary character. My troopers and I are rebels fighting for the survival of the uninfected and the destruction of the Center for Disease Development.

Some of the zombies have pretty intense make-up—i.e. they’re not freshly dead. How long does it take the zombies to get into make-up and how many make-up artists are on the team?

As much as we try to make the apocalypse real, the AZA is still a show. With not much light, our zombies have to be highly detailed for a spine-chilling scare. The process is down to a fine science—taking about 7 minutes per zombie. We have a team of about eight artists, myself included, headed by Shane Morton. First they are outfitted and receive a prosthetic. Once the prosthetic is dry, they are base-coated, detailed with additional colors, blood-splattered and hungry for BRAINS!

What zombie movies and books were most influential in planning AZA, and did a certain TV show set in Atlanta and featuring the CDC influence AZA at all in this year’s planning?

Haha! That’s funny. Last night Shane and I watched THE WALKING DEAD for the first time, and I thought it was pretty weak. CGI blood is a NO-NO! Our blood gags are far more realistic and they’re LIVE! And I’m pretty sure we were using the CDC gimmick first(?) as our show opened before the first episode aired. As far as most influential, WORLD WAR Z, I AM LEGEND [Ed. note: original Richard Matheson novel, not Will Smith move], LAST MAN STANDING and ESCAPE FROM NEW YORK provide the main inspirations.

Were you involved in any of the planning and construction? What can you tell us about that – how does AZA come together and who are some of the key behind-the-scenes masterminds, whom readers might not know about?

I’ve been out on builds from January to October and helped with some big scares in the courtyard. The primary innovators are Jonny Rej (co-owner of the Plaza Theatre) and Shane, with the major help of Dusty Booze in the construction department.

What’s a cool piece of trivia about AZA that isn’t widely known?

It is HAUNTED!

Professor Morte (Shane Morton) and Madeline Brumby in Silver Scream Spookshow.

Can you share any history about the AZA site? It was an abandoned motel, wasn’t it?

It used to be one of the busiest trucks stops ofAtlanta. At some point the owners ran into financial trouble and it shut down. Pirates ransacked the place and absconded with all the copper! When the property was purchased by Safety Wolf, I think they found EIGHT dead bodies during clean-up in the motel.  Shane and Jonny sure found some scary stuff when they were cleaning…

In addition to the main AZA experience, there’s a photo op, the opportunity to shoot zombies with paintball weaponry and some tasty food vendors, aren’t there? What might readers want to know in advance about what else is going on?

What better way to remember your apocalyptic experience than a photo with a zombie and a weapon of choice! The Zombie Shoot is even better this year and don’t let your taste buds miss out on Jim Stacy‘s famous Palookaville eats! His pickle is amazing! (insert joke here)

You’ve also become a regular in the Silver Scream Spookshow. Can you give us a little sneak peek into this week’s stage show and what makes HAUNTED PALACE such a special treat?

We definitely have some comedy gold in store for this week’s show! It’s the 5th year anniversary, so we’ve got some of the older characters like Persephone (Plaza co-owner Gayle Rej) and some of the new ones like Quozzy mixing it up for a spooktacular monster mash with more onstage illusions than ever. The score of HAUNTED PALACE is what makes the movie special to me, so I’m excited to see and HEAR it in the wonderful Plaza Theatre.

Will AZA be in the L5P Halloween Parade this year? Just zombies or how does one decorate an undead float?

We’ll be there! Undead and Alive! I think the only “float” we’ll have is a blood-splattered car.

You’re also starring in DEAR GOD NO!, an over-the-top neo-‘70s exploitation film featuring tons of local talent and playing at the Plaza Oct. 22-27. Can you tell us a little bit about that movie and the part you play?

Jimmy Bickert‘s DEAR GOD NO! is the ultimate grindhouse film. It is disturbing, offensive, hilarious, horrifying and amazing. You can’t even call it a tribute. It was shot on super 16mm film and all the effects are practical. I play Edna Marco who is the daughter of the mad scientist that has created something terrible. She transforms from submissive to empowered. Developing her went beyond all expectations. I channeled some deep dark emotions into my character and it has definitely been one of my proudest roles.

DEAR GOD NO! pushed a lot of boundaries and isn’t for everyone. What advice do you have for who should see it, especially the gals?

Take it for the art that it is and expect to be offended.

You also are acting as one of Dracula’s wives in Rob Thompson’s highly anticipated DRACULA: THE ROCK OPERA, which premieres next April at 7 Stages. Do you have anything you’d like to share about that role and experience?

Well, it’s definitely a musical that isn’t lame. My poor brother didn’t realize that Dracula’s wives were semi-nude and felt a little weird seeing that much of his sister. Haha! But, I don’t think it bothered anybody else too much. From musicians, score, and performers, the show is oozing talent and potential. I hope we do play in Prague this summer.

Any other acting roles or creative endeavors that you’d like to share with ATLRetro readers?

I hear there’s going to be a sequel to DEAR GOD NO! Hopefully we start shooting in the Spring.

Finally, you lived in England and have a science degree from Georgia Tech. Not that it wouldn’t be our dream/nightmare job, but how did you end up being a B-monster attraction/spookshow/movie actress?

Life’s a journey, right?

ATLRetro wishes Blast-Off Burlesque would put on a few more full shows— these seven delectable dolls and one groovy guy are way too much clever and creative to be on stage just twice a year now and we miss them at the Silver Scream Spookshow. But this talented ensemble is thankfully tiding Atlanta over with Taboo-La-La, a sexy vintage movie series with extras, at the Plaza Theatre. They kicked off with SHOWGIRLS in March, but this month’s show on Saturday May 21 is even more of a special treat as they present a rare chance to see exploitation classic FASTER, PUSSYCAT! KILL! KILL! on the big screen (read ATLRetro’s exclusive review by Mark Arson here). Of course, it’s a Blast-Off production, so that’s just the tip of the fun from Tura Satana lookalike, beefcake boy and all-girls arm-wrestling contests to a shrine to recently deceased B-movie siren Satana and a silent art auction fundraiser for a documentary celebrating her life.

Dickie Van Dyke and Barbilicious. Photo credit: Derek Jackson.

To find out more, ATLRetro asked Barb Hays, aka Barbilicious, for a sneak peek behind the naughty plans and got her to spill a few sexy secrets. If you’ve been to a Blast-Off Burlesque performance—and shame on you, if you haven’t—you know each has a unique personality. For Barbilicious, it’s her big smile and a certain mischievious glint in her eyes that’s likely to grab your attention first. She’s the wacky comedienne who adds that extra “oh, my,” whether in an ensemble dance sketch where everyone is dressed in banana suits or steering a giant plastic bubble around stage in homage to Jane Fonda as Barbarella in the company’s Sci-Fi-A-Go-Go show last year.

Barb also drops a few tantalizing hints about future happenings involving an all-Blast-Off photo shoot next week, Blast-Off’s September show, her punk band LUST and the debut of Burt and the Bandits, her newest collaboration with the multitalented Jon Waterhouse (read ATLRetro’s profile of Jon here), at the East Atlanta Beer Festival also this Saturday.

Read the rest of this entry »

By Mark Arson, Contributing Blogger

FASTER, PUSSYCAT! KILL! KILL! (1965); Dir: Russ Meyer; Writer: Jack Moran; Starring Tura Satana, Haji, Lori Williams; Taboo-La-La Series hosted by Blast-Off  Burlesque at Plaza Theatre, Sat. May 22; 9:30 PM; pre-show antics include a Tura Satana costume contest, beefcake contest for guys, all-girl arm wrestling, live music by Grinder Nova, a chance to leave an offering at the Tura Satana shrine, a silent auction of Tura art and memorabilia to raise money for Varla Films to help complete a documentary on the recently deceased actress, and super special prizes & surprises; age 18 & over only.

When describing FASTER, PUSSYCAT! KILL! KILL!, I’m tempted to describe it as an orgy of fast cars and violence. I can’t really say that though, and those of you familiar with director Russ Meyer‘s other work will know why. Most of his films resembled incredibly well-made porn, but I believe the correct term is “Sexploitation.” This film, however, doesn’t have any nudity or actual sex, though the actual sexuality in the film is plenty ratcheted-up. The focus here is on action, treachery, and, of course, cars. For my money, this is one of the best exploitation films ever made, it’s never boring, and its (mostly) sleazy characters revel in their spider-web of bad intentions and revenge.

Varla (Tura Satana) leads a threesome of go-go dancers who are out in the desert to blow off some steam when one thing leads to another and they end up having to run from the scene of a murder. The first 20 minutes of the film are pretty much nonstop, and it only becomes more deliberately paced when the ladies find their way onto a farm with a creepy old man in a wheelchair (Stuart Lancaster) whose fortune they intend to acquire one way or another. This part of the story bears an interesting resemblance to TEXAS CHAINSAW MASSACRE, except there are bad intentions on both sides. To complicate things, the three have abducted a girl (Susan Bernard) whose boyfriend met an unfortunate end at the hands of Varla, and the old man might want her more than they do.

The entire cast does a great job (except for maybe the gas station attendant, but hey, he’s not supposed to be smart, right?), but make no mistake, this is Tura Satana’s film. As Varla, she not only is responsible for most of the (bad) things that unfold, but she has the screen presence to back it up. Gender equality is something that we’re more or less used to these days, even if it does have a ways to go, but in 1965, this film must have been pretty shocking. Varla does what it takes to get what she wants and won’t hesitate to kill a man with her bare hands in a fair fight, an unfair fight, or with her car. Her friction with the old man, himself a literal representation of male oppressiveness and lechery, is plenty poetic as well. Satana is both alluring and terrifying here, to the characters in the film as well as the viewer. When Billie (Lori Williams) gives her trouble, you can’t help but wonder when Varla is just gonna go ahead and kill her.

Russ Meyer was a master director and editor, and FASTER, PUSSYCAT! KILL! KILL! stands with his finest work. This was also one of the few times that he didn’t feel the need to include excessive sex in a film, and you will hardly miss it…..maybe. But there’s plenty of action, fast cars, and off-the-wall slang to satisfy your urges, and you probably will still want more. FASTER, PUSSYCAT! KILL! KILL! is both a relic of a bygone era and a timeless work of art. Movies that take place in the middle of nowhere are good like that. Now if you’ll excuse me, I’m gonna go watch it again.