ATLRetro

by Melanie Crew
Managing Editor/Contributing Writer

Daniel Griffith, local award-winning filmmaker and founder of Ballyhoo Motion Pictures, will be joining a sinister line-up of horrorific guests at the inaugural Monsterama Convention, founded by our classic monster-lovin’ fiend, friend and ATLRetro contributing writer, AnthonyTaylor, which will be creeping into the Holiday Inn Perimeter in Dunwoody this weekend, August 1-3! So, prepare for a ghastly weekend of ghoulish proportions!  Griffith will be joined by a guest list filled to the bloodcurdling brim with chillers like Victoria Price, daughter of Vincent; Hammer scream queen Veronica Carlson, director Jeff Burr, filmmaker Larry Blamire (LOST SKELETON OF CADAVRA), Bram Stoker Award-winning writer Brian Keene, ATLRetro’s very own “Chiller-ess in Charge”, Anya Martin, Kool Kat Shane Morton, a.k.a. Professor Morte [see ATLRetro’s Kool Kat feature on Shane here], Kool Kat Madeline Brumby [see ATLRetro’s Kool Kat feature on Madeline, here] and so many more!  So, haunt on down to Monsterama this weekend and get your bones a’rattlin and your classic monster fix!

Griffith, purveyor of all things cinematic and obscure, and no rookie to the B-movie and classic horror genre, has produced and directed over 45 documentaries, with his company, Ballyhoo Motion Pictures, spanning a wide-range of film history, genres and subjects.  His documentary library is far too prolific to list them all, but in a nutshell he has directed and produced: THE BLOODIEST SHOW ON EARTH: MAKING VAMPIRE CIRCUS (2010), THIS ISLAND EARTH: 2 ½ YEARS IN THE MAKING (2013), [both will be screened at Monsterama this weekend], RETURN TO EDEN PRAIRIE: 25 YEARS OF MYSTERY SCIENCE THEATRE 3000 (2013) and THE FLESH AND THE FURY: X-POSING TWINS OF EVIL (2012).  Griffith is currently in production on CELLULOID WIZARDS IN THE VIDEO WASTELAND: THE SAGA OF EMPIRE PICTURES, the official feature-length documentary delving into the rise and fall of Charles Band’s legendary Empire Pictures studio, known for cult films such as RE-ANIMATOR (1985), ZONE TROOPERS (1985) and GHOULIES (1985). His documentaries have gained him not only notoriety in the cult film arena, but also the 2012 Rondo Award for “Best DVD Bonus Feature” for his documentary biopic on Universal B-movie actor, RondoHatton, TRAIL OF THE CREEPER: MAKING THE BRUTE MAN (2011) and the 2013 Forrest J. Ackerman Lifetime Achievement Award.  Griffith is also the official documentarian for the “Mystery Science Theater 3000” DVD releases.

ATLRetro caught up with Daniel Griffith for a quick interview about his devotion to film history, from the greats to the barely-knowns, his desire to set a story to film and his trek into the deep dark cavernous minds of long ago filmmakers, plotting the map of film history.

And while you’re takin’ a gander at our little Q&A with Griffith, take a sneak peek at an excerpt from his documentary, PSYCHO’S SISTER: MAKING THE NAME OF THE GAME IS KILL! (2013), delving into the history of the 1968 drive-in thriller!

ATLRetro: As a documentary filmmaker, you are foremost a film historian and avid preservationist, which is clearly evidenced in the wide variety of documentaries you’ve produced with your company, Ballyhoo Motion Pictures. In the grand scheme of things, why do you feel it is important to not only preserve, but also to share these stories?

Daniel Griffith: The media of the past serves as a type of looking glass or time capsule. It is the definitive visual representation of artistic achievement and human frailty. Therefore, it is important to have a documented record of how those works were created, if only to build awareness and preserve its shelf life. Selfishly, I became a documentary filmmaker to further understand the medium of cinema and television. To me, the film artisans of the past are the direct link to the motion pictures of the future. Studying and understanding their contributions was the BEST film school. But, as I moved from project to project, I began to recognize how many films and television series have drifted into obscurity. I guess I made it my responsibility to tell the story behind those works.

You seem to give a lot of love and respect to the underdogs, to the films and projects of yesteryear that never quite reached the level of success in the industry that the majority set out to achieve. What is it about these films, these filmmakers that magnetize you? That compels you to tell their story?

I never compartmentalize the films I document. To me, the least successful motion picture can have just as much value to an individual as the most revered or noteworthy. It is my duty as a film and television documentarian to change the way we look at the works of the past; to give each production an equal opportunity to share the spotlight. Who knows? A viewer may discover that the best stories of human triumph and creativity come in the cheapest, most misunderstood packages.

You’ve produced many bonus features and documentaries for Shout! Factory, Synapse Films and VCI Entertainment, etc. over the years, which has included a comprehensive peek into your fans’ favorite sci-fi, horror and ‘80s B-movies, westerns and a variety of retro filmmakers and film companies. Can you tell our readers how you became a documentary filmmaker?

It began with a simple challenge; to singlehandedly create a narrative and follow through with its execution. About eight years ago, I was developing one motion picture script after another. Slowly, a case of cabin fever set in. I was restless. I wanted to get out into the field and visualize a story on film. While discouraged, I revisited a wacky holiday episode of MYSTERY SCIENCE THEATRE 3000, entitled “SANTA CLAUS.” During the opening credits, a title card reading “K. Gordon Murray Presents” appeared on the screen. I thought to myself, “Who is this K. Gordon Murray guy, and why did he choose to distribute this surreal, Mexican children’s film?” In that moment, a documentary concept was born, and simultaneously the seed that would eventually become Ballyhoo Motion Pictures.

The name “Ballyhoo” draws to mind a long list of whimsical, colorful and raucous shenanigans of the circus variety. What’s the story behind the name?

My company name and logo are comprised of several unique personal events. The logo itself dates back to my first exposure to the works of the cinematic showman, William Castle, and his film, HOUSE ON HAUNTEDHILL. The scream that accompanies the logo is the first scream you hear prior to the opening credits of that film. It was the scream that woke me up as a child when the film played on television. Utilizing it in the context is my way of saying to the viewer, “WAKE UP! The show is about to begin and you don’t want to miss it!” And the name Ballyhoo represents two of my passions; the energy found on the midway of any traveling carnival and the promotional tactics used on the motion pictures of the past.

As a guest on several panels at the first ever Monsterama Convention, including a Q&A session with Victoria Price, Vincent Price’s daughter, and a panel discussing documentary filmmaking, what do you hope to pass on to the eager ears of the convention-goers?

Well, for one, this is a great opportunity to learn more about one of the greatest actors of our time. Vincent Price was not only a celebrated actor in film and television, but he was also an accomplished cook, author, painter and art critic. While he is remembered for his chilling performances in the DR. PHIBES films, as well as William Castle’s, THE TINGLER and HOUSE ON HAUNTED HILL, there was much more to him than the horror genre that sustained him.

Additionally, two of your documentaries [“The Bloodiest Show on Earth: Making Vampire Circus” (2010) and “This Island Earth: 2-½ Years in the Making” (2013)] will be screened throughout the weekend; two very different documentaries, but both created with the same amount of respect and enthusiasm for the subject matter. Can you tell our readers what your favorite experience was while making each and what you would do different, if you could go back and change anything?

Well, one of the greatest experiences I had working on all the Hammer documentaries, including VAMPIRE CIRCUS, was visiting the renowned Pinewood Studios in England. Filmmaker John Hough, who previously directed Hammer’s TWINS OF EVIL, gave me a private tour of the entire back-lot. This is the studio where most of the James Bond films where shot, the 1978 version of SUPERMAN, the first ALIEN film and Stanley Kubrick’s, FULL METAL JACKET, just to name a few. It was astonishing!

As a filmmaker, you are getting the chance to live out your dream every time you create and release your work into the world, a dream you’ve had since your early childhood. Any advice for the next generation of Kool Kids who long to dive head first into the land of imagination and cinematic storytelling?

Watch as many films as you can! Don’t be afraid to take chances on viewing films that are outside your comfort zone. Just because it’s black and white, or subtitled, doesn’t mean you will not enjoy it. Like an author with a library card, watching films is your first, best education.

Who would you say are the filmmakers that inspired you most?

There are simply too many to count. I continue to be amazed by filmmakers, past and present. I have always admired the way Orson Welles demands more out of everyone, including himself. I deeply admire the poetry found in every frame of a Sergio Leone film. Being a child of the ‘80s, I have always responded to the childlike sentiments found in almost every Spielberg film. On a more obscure note, I find the offerings of director Joseph H. Lewis strangely addictive. This list could go on and on and on…

In such a short amount of time, you’ve got 45-plus credits under your belt, releasing shorts to full-length documentaries, and have gained a following in the MST3K, B-horror and sci-fi circles, with a promise of more to come! Can you give our readers a hint of what’s next for Daniel Griffith and Ballyhoo Motion Pictures?

In a perversion of Al Jolson’s famous line, I’ll have to say, “You ain’t seen nothin’ yet!” More Mystery Science Theater 3000 productions, for sure. I am currently in post-production on an epic documentary about the history of television’s most iconic series! However, unfortunately, I cannot divulge the title at this time. But, if you find me at Monsterama, I just may be persuaded to tell you.

Can you tell our readers something you’d like folks to know that they don’t know already?

While attending the Monsterama Convention, you’ll have the opportunity to stop by the Ballyhoo Motion Pictures table to view original props from various B-movies of the past, as well as purchase EXCLUSIVE retro movie items!

What question do you wish somebody would ask you and what’s the answer?

From the offices of Warren Beatty: “Will you produce a documentary on the history of Dick Tracy?” The answer is, “I’m on my way!”

All photographs are courtesy of Daniel Griffith and used with permission.

By Philip Nutman
Contributing Writer

A labor of love for Atlanta filmmaker, Mike Malloy, who researched, wrote, directed, produced, edited  and even contributed a small amount of instrumental funk to the score, EUROCRIME! THE ITALIAN COP AND GANGSTER FILMS THAT RULED THE ’70s screens at the Atlanta Film Festival on Friday, March 30 at 7 p.m. at the Landmark Midtown Art Cinema. EUROCRIME! is a  feature-length cinema documentary concerning the violent Italian ‘poliziotteschi’ (a literal translation is “policesque”) cinematic movement of the 1970s which, at first glance, seem to be rip-offs of American cop/crime films like DIRTY HARRY or THE GODFATHER, but which really address Italian issues like the Sicilian Mafia and red terrorism.

What sets these movies apart from American cop movies of the era were the rushed methods of production (stars performing their own stunts, stealing shots, no live sound) and the dangerous bleed-over between real-life crime and movie crime. EUROCRIME! is an excellent, exhaustively researched, fascinating chronicle of this action-packed sub-genre of low budget Italian cinema.

ATLRetro scored an exclusive interview with the busy movie maker earlier this week.

ATLRetro:  What inspired you to make EUROCRIME?

Mike Malloy: I got my first book contract – to write a cinema biography [of Spaghetti Western star Lee Van Cleef] – when I was 19, and over the next decade, I was slowly but surely building a career for myself writing for movie magazines [(FLAUNT, FILMFAX, VIDEO WATCHDOG, etc] and for newspapers [AP, Knight-Ridder, SUNDAY PAPER]. Then, one morning in 2007, I woke up and learned that the whole world had apparently decided overnight that film journalism was no longer going to be a paying profession. So I decided to try to parlay my film commentary into cinema documentaries.

The Eurocrime genre was my cinematic fascination at the time, so I made a three-minute demo video, and a colleague got it in front of an acquisitions VP at a major cable broadcaster. They said they’d be interested in buying the broadcast premiere if I could get it made. That allowed me to jump headlong into the project.

Mike Malloy dons a police badge himself in an acting role. Photo courtesy of Mike Malloy.

Looking back, I see what caused me to fall so madly in love with Eurocrime movies. I love cinema that rings true to life. And it may seem strange to say this, considering the Eurocrime genre’s over-the-top violence and action, but these movies are about as real as it gets. And that’s because of the way they were made. Sometimes the organized crime down in Naples got involved in producing these films, so you got a pretty hairy blurring of real-life crime and movie crime. And because the leading men of these films – even big international stars – performed their own dangerous stunts, the action had a certain authenticity to it too.

How long did it take to make EUROCRIME!?

Getting the interest from the broadcaster launched me on a four-year odyssey. I know nothing about raising money, and I was in a bad place to do it anyway, as these movies weren’t experiencing the revival here in Atlanta that they were in places like Los Angeles and Austin. So I just did the doc on my own, basically, with a few small private investments and with some help from some colleagues who also loved these movies. And I ended up starting the project Standard Definition and starting over midway as HD, teaching myself all the necessary editing and VFX software along the way.

Having no real budget meant that most of the things that other pop-culture docs farm out – like stylish, graphics-oriented opening credits sequences – I just had to do myself. In fact, because I realized that many of our filmmaker interviews were shot on the fly and with less-than-ideal circumstances, I wanted to compensate by creating as many graphics, montages and other touches of style as possible.

I started the doc in my living room and finished it in the upstairs of my fiancée’s parents house, as this project even cost me my ability to pay my rent for a while!

How did you obtain all the amazing footage (in addition to all the great interviews)?

These films have gotten some pretty great-looking DVD releases in other parts of the world. So it’s a matter of finding those good-looking releases, than finding cruddy-looking gray-market copies of the same films with English dialogue, then matching up the good-looking print and the English audio. Of course, NTSC (North American) and PAL (European) video run at different speeds, so it takes plenty of trial-and-error adjustments to sync it.

We also were very grateful to receive some 8mm home movie footage from one of our interviewees – John Dulaney. And we got some other cool materials from people like Italian cinema documentarian Federico Caddeo.

Wasn’t Quentin Tarantino supposed to be involved at some point?

We were interested in interviewing him regarding the important part he played in the revival of these movies, setting up Eurocrime screenings at The New Beverly inLos Angeles, the Alamo Drafthouse in Austinand at events like The Venice Film Festival. He said yes a couple times to the project, but we never could make it happen.

What’s next for you?

I’m now in production on PLASTIC MOVIES REWOUND: THE STORY OF THE ’80s HOME VIDEO BOOM. And I’d like to do DAVID CARRADINE: THE LOST AUTEUR.

Where would intrigued viewers of the doc go to find these movies?

Last time I checked, Videodrome on North Avenue had a Eurocrime section. And the longtime Italian DVD company, RaroVideo, just started releasing some of their titles in theU.S.last year -movies like THE ITALIAN CONNECTION and LIVE LIKE A COP, DIE LIKE A MAN. And for years now, the U.S. DVD label Blue Underground has been championing Eurocrime movies in the U.S., releasing films like STREET LAW and THE BIG RACKET. All these titles from Raro and Blue Underground are available through Netflix, too.

Contributing write Philip Nutman, is a long-time film journalist, author, screenwriter and occasional director. He recently produced the forthcoming, controversial zombie love story, ABED, in Michigan.