My next interview from the EULOGY FOR A VAMPIRE kids is Ryan G. Metzger, an out actor who plays “Florian” in the film. He’s also a fellow Midwesterner!

SEAN ABLEY: I see you’re from North Dakota! I’m from Montana, and I remember how
we used to tell North Dakota jokes all the time. Does ND return the favor? Or have they picked another state to make fun of?

RYAN G. METZGER: You used to tell NoDak jokes! How incredibly cruel and insensitive of you! Unfortunately, we didn’t spread too many Montana jokes around. Maybe they do in Bismarck, but in Fargo, we’re a comfortable distance away from the crazies in Helena. Truth be told, we’re much closer to Canada, and Canadian jokes, now that’s a much different story!

What was it like growing up gay in North Dakota (and Minnesota)?

Growing up gay anywhere, particularly in the Midwest, is always difficult. And I had my struggles just like everyone else. But I was really fortunate to grow up in Fargo, which is really the cultural hub of North Dakota, if it has one, as apposed to say, Bismarck, the capital. If I had been born in the Western part of the state or in the remote Northern reaches of Minnesota, things may have been very different for me. But in Fargo, there are three major universities in the immediate area, which really creates a strong liberal, creative community, a community that is much more accepting of the GLBT crowd. In Fargo, we have a symphony orchestra, a civic opera, multiple theatre groups, dance troupes, a world-class performing arts school, and many other various arts groups, all of which thrive in large part because of the universities. And to my mind, it’s much easier growing up gay in a community where the arts are valued than in one where they are not. I also lucked out because, though my parents are Catholics and life-long Republicans, they were always able to place love, family and respect above other considerations. They accept me for who and what I am, even though I may not have turned out to be exactly for what they’d hoped.

I see you starred as “Frank-N-Furter” in a production of THE ROCKY HORROR SHOW in Fargo. I remember begging my community theater back in Helena, MT to do a production of that show, and of course was roundly denied. What was the atmosphere surrounding that production like? Was it a scandal? Has Fargo gotten more cosmopolitan over the years?

ROCKY was one of my last theatre experiences before I moved to NYC, and it was probably the funnest thing I’ve ever done. The theatre that produced it, the Fargo-Moorhead Community Theatre, had a fairly new Artistic Director at the time and she was trying to expand the theatre’s audience and repertoire, something a lot of us in the theatre community had been advocating for years. When they announced that it would be a part of their season, there was no real uproar, only excitement. It had never been produced in Fargo, and a lot of people were very excited to see it done LIVE. As I said before, because Fargo has three major universities with strong liberal communities, there’s a large contingent of arts patrons that are interesting in seeing something other than just a Rodgers and Hammerstein musical, not that there’s anything wrong with that, either.

The production turned out to be one of the theatre’s most successful shows ever, if I remember correctly. We sold “Audience Participation Packs” before the show, and by the end of every performance, we had little old women with rainbow-feathered bows around their necks dancing in the aisles. It was as if we were having a party every night. When I would throw off my robe at the beginning of “Sweet Transvestite”, the audience would roar so loudly, I couldn’t hear myself singing. It was amazing.

I see you’re in T.S. Slaughter’s SKULL & BONES, a notorious, and early, entry in the gay horror genre. How did you find your way into such a controversial film?

As an actor new to the city, you’re constantly looking for gigs, in any place you can find them. Here in NYC, there are a number of websites that have casting and audition notices, and to this day, I check them daily. As a fan of horror movies, I always keep my eye out for notices concerning that particular genre. One day, a notice for SKULL & BONES appeared, and it being a gay-themed film as well, I jumped at the chance to audition. I was able to read the script before I accepted my role, and was understandably a bit nervous about being involved with what would probably be a “controversial film”, as you put it. But I thought T.S. had a unique vision and some great ideas and I decided to take a chance. Again, when you’re beginning your career and building your reel, your try to get whatever experience you can. And many times, any publicity is good publicity!

Any thoughts on the subject matter? From my perspective, it fulfills two gay dude fantasies - banging straight guys and killing bullies. But as soon as you commit those things to film, you’re up for criticism from the community that, I think, should be cheering you on!

To answer your first question, I definitely think those exact fantasies were what T.S. was trying to exploit and play with. Like any good movie, as the audience we get to live vicariously through the characters. But I think it’s important to remember that, at the end of the day, it’s just one drop in a vast ocean of cinema, and that its end goal is nothing much more than entertainment. Although there’s definitely some social commentary going on, we weren’t trying to change the world with this one little indie film. We were trying to entertain and maybe push a few buttons.

You’re also in BLOOD KISSES. Not much info out there about it - what can you tell me?

BLOOD KISSES is still in post production, but it’s ALMOST done. I think (director) Robert Kornhiser is just putting the finishing touches on it. I know it’s been submitted to festivals, but we’re still awaiting word of acceptance from most of them. I’d guess there will be some sort of release in either 2010 or 2011, hopefully sooner. I actually play a sexually ambiguous character in BK as well, a sort of gay/bisexual best friend that’s into leather and S&M. You’ll have to rent it when its finally released to find out if I make it out in one piece! But judging by my past experience, I wouldn’t put too high odds on it.

By the time this interview is published, THE SEVERED INN will be available on DVD. I take it from the trailer that cannibalism is involved. (Must be those shots of the meat grinder.) Do you get ground into delicious hash in the film?

Haha. Again, I don’t want to spoil the ending, but let’s just say that SOME of the characters will get ground into delicious hash by the end of the film. I can tell you that I don’t partake in any cannibalism myself. Nuts, right??

EULOGY FOR A VAMPIRE brings vampirism to a monastery - two things fraught with homoeroticism. And the film delivers on that in spades! Whipping, nudity, gay sex. Good times! How did you find yourself involved in this flick?

This is actually kind of a fun story. I’d seen the originaly casting notice for EULOGY when it was first released. I love vampire movies, and I really wanted to audition, but I didn’t submit myself because I didn’t really feel I fit any of the roles as well I should. The role of Florian, the one I was most interested in, was listed as “Blond” and in his “Early 20s”, two characteristics I didn’t quite match. But about a month later, I saw the listing again, looking for a replacement for that very role. According to the casting notice, filming was set to begin in only four days and they needed someone ASAP. I was familiar with Patrick’s work, having seen SUNKISSED a couple of years before, and so I submitted myself, thinking “What the hell? They need someone right away, maybe I’ll be sufficient!” Well, Patrick emailed be back within an hour, I auditioned for him that night, he cast me an hour later, and in three more days, I was filming.

It seems as though you were the only actor that didn’t get to shoot some sort of sex scene. Bummed? (Or did I miss it somehow?)

(Laughs) Well, yes, maybe little bummed. But to be honest, sex scenes are so antiseptic and technical to actually film that they’re more of a hassle than they’re worth. I was glad to pass that job off to my fellow actors.

I have to say, I’m really bummed that the Catholic church has ruined priest fantasies between consenting adults. Stupid pedophiles! Any hunky priests in your past?

(Laughs) Well, when I was in fourth grade, I had a crush on our parish priest. I didn’t realize that that’s what it was at the time, but in retrospect I definitely think it was bit of puppy love. He was incredibly cute, fairly young, probably just a few years out of the seminary; he was also incredibly kind and caring. A really nice guy. For about a year, I considered becoming a priest because I was so enamored with him; one time, I even brought him a cake I’d won at one of the random parish bazaars. To answer the question you’re dying to ask, No, there was no mischief between us! In the end, he moved on, and so did I. Thank God for that!

Are you a horror fan? Any thoughts on the gay horror genre in general?

I’m a huge horror fan, and I’m a huge fan of gay cinema, so anytime you can combine the two, I think it’s wonderful and provides a lot of great opportunies. The only problem is that when you do combine the two, you often severely limit your target audience. Unfortunately, movies like SKULL & BONES and EULOGY have an uphill battle trying to get seen. I think including GLBT characters and subplots in mainstream or more “normal” indie fare is perhaps a better way to include members of our community, in both the audience and the performer roles, rather than having an entire film of gay characters. I mean, ensemble gay casts are great, too, but their audience can be very limited. Having a gay couple in the next FRIDAY THE 13TH film, for example, would be a great next step!

I’m assuming these indie flicks you’re in are typical in that they’re shot quickly, with a tiny budget. Besides getting scenes for your reel, what are the benefits of working on these small films?

You also get some really great, real-world experience in film acting. Coming from a university theatre background, in NoDak of all places, I didn’t have a lot of experience in acting for the camera, which demands a very different skill set than acting for the stage. Working in these smaller, indie films gives actors a chance to hone their craft out of the intimidating glare of Hollywood. It’s also a great chance to network and meet other people in the industry. You never know when an indie director you worked with five years ago is going to become the next Tim Burton or the next Guillermo del Toro. Everyone has to start somewhere, and forming good working relationships early can help lead to work later on. I’ve got a good friend, Cuyle Carvin, whom I met on set while filming a student film called JACKSONVILLE. That relationship, in addition to finding a great friend, has led to at least three other acting jobs, THE SEVERED INN being one of them.

What’s next for you? I see you are doing quite a bit of theater in NYC along with the indie films.

I just completed my first Off-Broadway show last fall, appearing in The Pearl Theatre Company’s production of THE PLAYBOY OF THE WESTERN WORLD. It was an absolute blast. I also just appeared in my friend Cuyle’s directorial debut, AMUSED, which is currently in post production. Also in post production is a film I shot in October titled THE END OF SOMETHING, produced by Vintage Youth Productions, about a small theatre company in
Brooklyn, which is aiming for a 2010 release. Other than that, I’ve got some other indie theatre and film projects I’m in discussions about, but nothing definite yet.

Anything else we should know about you? Any deep dark secrets you’d like to give me as on exclusive?

Well, this isn’t too big of a secret, but here goes. I love doing death scenes. I mean, who doesn’t, right? If I get offered a role where my character meets a gruesome end, sign me up!After all, playing the leading man is usually less interesting and challenging; the sidekicks are always much more fun. And if it means we have to get slaughtered half-way through, so be it!

Thanks for taking the time to answer my question, Ryan!

For more about Ryan, check out his website
For more about EULOGY FOR A VAMPIRE, go here

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Writer/director Patrick McGuinn probably appeared on most GLBT radars with his fest favorite (if divisive) SUN KISSED in 2006. One of those “making super-8 films in his backyard” kids, McGuinn created a long list of cool shorts before finally making his first feature, SUROH: ALIEN HITCHHIKER in 1996. Now he’s teamed up with LATIN BOYS GO TO HELL screenwriter André Salas for the queer horror feature, EULOGY FOR A VAMPIRE. Got a priest fetish? This one’s for you!

Patrick and two of his cast members, Wilson Hand and Ryan Metzger, graciously allowed me to pepper them with ridiculous questions. First up, Patrick…

SEAN ABLEY: So you’re one of those filmmakers that was actually doing it as a kid. I just watched a couple of your first short films, THE THING FROM SPACE and ARGONS IN SPACE, shot on film with stunning visual effects! Did you actually draw/scratch those effects directly onto the film?

PATRICK McGUINN: Yes, painting and scratching on super-8 film was a great way to kill time when I was a child.

Who was the talent in these films? Were they impossible to work with?

Neighborhood and family friends acted in my childhood films. It was always a fun time. My brother also starred in the majority of these efforts, so of course he would occasionally disagree about something I asked him to do. When I wanted a break from live actors, I’d retreat to claymation.

Let’s talk about some of your early 16mm shorts, shall we? Tell me about TERRENCE BAUM: INTERGALACTIC ASSASSIN. The style of the film seems very European.

I was inspired by Japanese cinema from the 1960’s, sci-fi creature films (THE BLOB, etc.) and of course, Italian Cinema’s use of post-synch dubbing. That film and my other 16mm shorts are highlights of the PUPPETS & DEMONS DVD.

AGNES KEEDAN’S SECRET PLAN is like one of those British children’s films from the 70’s, all matte finish and girls with white tights.

AGNES was inspired by TV shows like ABC AFTERSCHOOL SPECIAL, and in particular CBS CHILDREN’S FILM FESTIVAL, which aired on Saturday mornings in the 1970’s, after all the cartoons were over. Kukla, Fran and Ollie (a woman and two puppets) hosted and introduced these unsettling, odd, dubbed films from other countries. I was always haunted by these films where children had to fend for themselves in somewhat hostile or alienating situations.

I remember all of those shows, and as I kid I was always very confused by the films they presented. The lips not matching the words made me angry - I couldn’t understand why they couldn’t get them to match. Were they just lazy?

I have to say, SAY THANK YOU PLEASE fascinates me. First of all, that puppet is absolutely creepy as Hell. And I can’t figure out what this world is, with the pasta-making song and the puppet with the punishing voice. What the Hell is going on here?

I’d written a feature-length musical, LIMCUS SOUP, which I couldn’t get produced at the time, and I was kind of depressed by this. So, to feel more empowered, I decided to make a shorter-length musical film. I cast myself in the lead role, and used some of the songs I’d written for my defunct band with new lyrics about making pasta. I was closeted at the time, and had no self-knowledge about the true symbolic connotation of having the puppet “come out” of the closet. Pasta was my favorite food at the time, it was so cheap. I was married, and my wife and best friend helped me make the film. As you can guess, there was a lot of subliminal psychic conflict going on! I’m happy it shows in the film!

SUROH: ALIEN HITCHIKER was your first feature-length film. I haven’t seen the whole film (what can I say? I’m very busy and famous…), but what I have seen seems super trippy, and less a narrative story than a montage. Do I have this right?

I wanted to explore new visual and story-telling techniques with my VHS camcorder, and I was fascinated with the (then-popular) notion of humans being abducted by space aliens. I thought: what if instead of an alien abducting a human, a human finds an alien, and to top it off, they fall in love! SUROH proved to be a successful film in its day [1996]. Now, people mostly dislike watching it because of its low-budget constraints.

I have to know - who plays the alien in SUROH?

My cousin, Phillip, did the honors of wearing the outfit and mask. What a trouper! He had to crawl all over the desert landscape, at night, with very limited visibility. Once we had to leave him lying face-down in the middle of a road by himself while we drove away to get a P.O.V. shot of the driver from another direction.

KILL ME TOMORROW was your next feature, featuring witchcraft.

It was a great experience! An eight-day shoot on 35mm film! The cinematographer was thrilled to be a part of it. I found the cast members organically – mostly non-professionals. I still use this approach to casting. But there were a lot of different drafts (and writers) of the screenplay, and the story became a bit muddled. I should have shaped this film more into a supernatural lesbian feature, but I was curious about escaping the gay ghetto for at least one project.

When your thriller, SUN KISSED, made the festival rounds was the first time I’d heard of you. I remember the buzz being, “This is a tough one…”

The film opened a lot of doors; critics and programmers took SUN KISSED very seriously. Audiences either love or hate it – I haven’t met anyone who feels apathy toward it. Most people get angry when watching it because of its non-linear plot. The film has been attacked for all manner of issues with its low-budget limitations…If they only knew what a hat this film was pulled from, a project from very limited resources.

I hear you on that last statement. My first film as a writer/director, SOCKET, was roundly criticized for low budget. I think SUN KISSED suffers from the same fate - we managed to make the film look like it cost four times as much as it did, but people assumed it cost even more and thought we were just sloppy.

So, EULOGY FOR A VAMPIRE - how did you hook up with the writer, Andre Salas?

Andre interviewed me for a profile in FILMMAKER MAGAZINE [in 2001]. We got to know each other over the years and realized how much we mutually enjoyed a lot of B-movies and cult cinema. I was happy to introduce him to two films which he championed in later articles in FILMMAKER, OLGA’S GIRLS and Oliver Stone’s first feature, SEIZURE. He has written numerous scripts, all of which are excellent and well-written. One of them was called VAMPIRE IN A BOY’S DORMITORY, which I loved, but it was too big a film to make on a small budget. I asked him to modify and change it, into a smaller-size project — instead of 24 speaking parts, 10 speaking parts, instead of 8 locations, 1 location, and so on. We came up with EULOGY FOR A VAMPIRE this way, and had casting read-throughs over the course of a year to tighten the script.

You told me that every cast member in EULOGY is gay except one - did you guys totally haze the straight guy?

(Laughs) Well, he felt hazed without being hazed, I think, being lodged with a bunch of randy young gay actors in the same house. He was a good sport. But he had to writhe over another actor in a love/vampire attack scene, and the other receiving actor said he lacked finesse in his man-on-man love technique.

What was your production schedule like? I’m assuming it was way too short.

Definitely too short! Eleven days principal with two days of pickup shooting. So, thirteen shoot days total…A lucky number, maybe? And the days were long. The crew was terrific, all straight men! They were sort of hungering for a female presence by the end of the shoot…it was like being on a pirate ship on the high seas!

You have a lot of sexual situations in EULOGY, but not a lot of full frontal, which is against the norm these days (or so it seems. I feel like I’ve seen a ton of peen in films lately.) Was that a decision made artistically, or perhaps by the actors? Why so little peen?

There was an air of modesty on the set. Andre had nudity written into the script, so most actors knew about it going in, but we all realized that some situations just called for more propriety since these characters were monks. Also, it would have been harder to get the film broadcast on cable TV with so much unabashed nudity! I didn’t set out to make a porn film, and I wanted to be sensitive to the actor’s concerns. But yes, even SHUTTER ISLAND has male full-frontal!

I’ve been chatting with my other gay filmmaker friends, and the only people who seem to be making films these days are Casper Andreas and… Well, I can’t think of any others. I think even David DeCouteau is twiddling his thumbs. Money has evaporated for low budget gay films, and whereas the prevailing opinion was “If your budget is over 350k, you won’t make your money back on a gay film…” now it seems to be “If your budget is over 70k you won’t make your money back…” What are your thoughts on the gay film horizon these days?

I think that queer cinema has been co-opted, simply because gay culture itself has been. A lot of gays no longer wish to be counter-culture or sub-cultural. Cinema is a mass media, so it will inevitably cater to the mass audience. Budgets are going to have to stay very low in order to see any future profit. But I continually re-learn this the hard way. EULOGY was my biggest-budget film, but had a lot of counter-cultural elements, which I don’t think will be embraced by the mainstream!

Speaking of budget, can you tell me your budget for EULOGY? Yes, yes, I know, we’re all told not to tell what our budgets are. But this will stay between us…and all my readers. (And if you say “Under a million…” I’ll kill you…)

(Laughs) Under a million! Are you going to kill me with kindness? (Laughs)

I’d kill you with a withering glance, if I could figure out how to make an angry emoticon.

As I ask this, my cat is lying on my arm, thwarting me from writing. What’s your most evil distraction from writing?

Other people. It’s hard to live in New York City and try to write anything long-form. There’s always a place to go, a thing to do, with other people. So I journey on writing retreats to desolate places when I want to get some writing done. No internet, no neighbors, and no animals either! (Laughs)

What’s next?

BOOBS – a heterosexual horror fantasia, from a script I wrote a few years ago. The premise is THE OFFICE meets FATAL ATTRACTION. I’ll probably film it in New York City. Most of my recent films have been made in rural outposts. It’s time for an urban film with a gritty message!

As I often do when ending an interview, I typed your name and “question” into a search engine to come up with my final question. “Patrick question” resulted in: Why is there an entire web page devoted to Iron Maiden album covers with Spongebob Squarepants inserted into them?

(Laughs) My nephews love my name because I share it with Patrick, the starfish character on SPONGEBOB. I’m in good company! I’ve never listened to any Iron Maiden, but my high school punk band did a cover of “Iron Man” by Black Sabbath (which happens to be an excellent film, too)!

Thanks for taking the time to chat with me, Patrick!

Bears are the best, Sean!

They are! Woof!

Check out Patrick’s shorts collection, PUPPETS AND DEMONS, here

More on EULOGY FOR A VAMPIRE here.

Patrick’s MySpace.

As always, you can join me on the Twitter all the kids are raving about
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BB Jane Hudson over at the queer, French horror blog Fears for Queers recently interviewed one of my favorite indie filmmakers, Alan Rowe Kelly. I’m always up for pimping Alan, so I asked BB Jane if I could post the English translation of the interview.

(BB Jane gave me permission to clean up his English, which I’ve done VERY sparingly. I think he does very well!)

BB JANE HUDSON: Do you consider yourself as an actor playing women’s characters, a female impersonator in the lineage of Charles Busch, etc.., or an actress who hasn’t the right sex?

ALAN ROWE KELLY: I have always considered myself an actor playing women’s characters. I’m not an entertainer, nor an impersonator. But I AM quite comfortable in both genders. It always has been a part of me since I can first remember.

Had you written other scripts before I’LL BURY YOU TOMORROW? Were there substantial modifications between your original script and the final movie?

I’LL BURY YOU TOMORROW was my first script. The opportunity came to make a film and I jumped for it. I had been writing for a few years already and I wrote the script in 3 months. I tried to keep that ‘old-school’ gothic appeal to it, since those were the type of horror movies I loved at the time. I wanted to make an attempt at recreating a ‘throwback’ to the old indie horror films of the 70s and early 80s. Of course the script went through many incarnations once we started filming and the film did take 3 years to complete from beginning to post. I was a complete amateur to filmmaking and had to learn everything as we worked ahead. I look at the film now very fondly, and I will be re-mastering it in a few years and with some well needed edits, color correction and new sound design for it’s 10-year anniversary in 2012 and a much deserved commentary.

Most of the independent horror movies emphasize on the funny or parodic aspects. IBYT is a serious and mature film, with some touches of black humor, but it’s not really a comedy (that’s why I like it so much, indeed…) I also perceive a strong Gothic influence. As spectator and artist, which school of fantastic movies influences you most? The Gothic (Universal, Hammer, etc…), the pure horror (gore, Lewis, Hooper and Co…), or a fantasy more naturalistic (movies like DON’T LOOK NOW, THE OTHER, or THE FULL CIRCLE?

I love all of the above listed. I was especially influenced by a film called THE UNINVITED (1944) with Ray Milland and Ruth Hussey, as well as the works of Val Lewton in the 1940’s – wonderful atmospheric pieces and unusual stories that were ‘horror’ oriented, but always came down to psychological human behavior in the final reel. Growing up, I adored all the monster movies of the 40’s and 50’s, and soon became a huge fan of John Llewellyn Moxie (HORROR HOTEL), Curtis Harrington (THE KILLING KIND), and everything produced by Roger Corman.

I read that IBYT was partly shot at Staten Island. Did you meet the ghost of Andy Milligan, there? More seriously, how do you consider the work of Milligan, as a gay director who specialized in the horror film? Do his films speak to you particularly?

We only shot one scene in I’LL BURY YOU TOMORROW in Staten Island (the funeral scene) because we got the cemetery for free. And I have read a few times that I am to be compared to a present-day ‘Andy Milligan’, and the funny thing is, I have NEVER seen a single one of his films.

I find it very funny that all the reviews I’ve read on his films consider all of his work ‘rubbish’. Even some reviewers (mostly British) also consider my work ‘rubbish’ (Laughs) So I guess we’re both in the same boat. Andy certainly has some great exploitation titles too! I’ll have to start looking his films up.

Contrary to IBYT, THE BLOOD SHED is camp one hundred percent. You find many references tributes to films of the seventies and eighties, and the humor is constant. It’s much more décontracté. This film proves your eclecticism and your capacity to change your register. Was the atmosphere of the shooting different ? Did you feel more confident to realize this second movie, and did you feel a team beginning to form ?

I had to get my ‘crazy’ film out of my system! (Laughs) Plus, I never want to make the same movie twice, so I will continue to explore all the sub-genres of horror as long as I’m allowed to make movies. THE BLOOD SHED was sort of a hybrid that happened by accident. It was originally to be a short for an anthology I was working on with 2 other filmmakers, but the project fell through and since we had enough scenes and footage already shot, we simply made it into a feature. And of course my influences from THE BAD SEED, AMERICAN GOTHIC, TEXAS CHAINSAW MASSACRE and PINK FLAMINGOS are all over this film.

As a crew, we had so much fun making this film and the camaraderie and professionalism between us all was so high, we realized, together, we are a great film team and should always make movies together. We have been continuing since and our work improves with each and every film. I’m very blessed and lucky to be with the people I’m working with, both cast and crew! We all believe in the same way of making films.

THE BLOOD SHED

In your previous two movies, homosexuality is not the center of the subject. Except the fact that you play feminine roles, there is no allusion to homosexuality, nor gay characters. A FAR CRY FROM HOME seem to be more engaged on this issue. This time, you speak about the violence at which homosexuals are confronted, and you speak about it violently. What is the reaction of the gay community to this movie, which seems extreme and without concession?

Alan Rowe Kelly and Jerry Murdock in A FAR CRY FROM HOME

Well I don’t consider myself a ‘gay’ filmmaker Pascal. I’m a horror filmmaker whom IS gay. I also don’t feel that homosexuality has to infiltrate all my films. Of course, it is there in my aesthetic throughout my films, because that is who I am. A FAR CRY FROM HOME (which is part of the GALLERY OF FEAR anthology coming out in 2010) was a clear departure from all my previous works and I feel is my best piece to date. I wanted to make a hard core, brutal, violent film where ‘hate’ was the true horror. It has NOT been accepted well by the gay community at all. As a matter of fact, it has been denied from all Gay & Lesbian film festivals except for one - the Long Island Gay & Lesbian Film Festival – who have a horror category and were brave and open enough to show it. You can never gage the temperature of your audience. So I simply make the films I really want to make and hope for a reaction – good or bad- from the viewers. But we have been very fortunate with the movie amongst horror lovers who really like the movie and we were recently awarded Best Special FX, and I received the Best Actor Award at the Terror Film Festival in Philadelphia this pas October! A real honor!

Jerry Murdock and Benzy in A FAR CRY FROM HOME

For some years, gay horror became successful, with David DeCoteau’s films, etc. Personally, I have the feeling that these movies content with resuming old plots by putting gay characters in it. They really have no queer sensibility, even if their heroes are gay. They could be filmed by heterosexual directors, it would change nothing to the scripts. You are actually the only director, to my knowledge, who transceds this sensibility in films which (except A FAR CRY FROM HOME) are not specifically gay. What is your opinion on this subject? Do you believe that an adult “gay horror” can exist, and do you know other independent directors (or writers) who work in this way?

Of course I believe this is possible as long as you don’t fall into the standard American ‘clichés’ and demographics of what gays should be on film - its so ridiculous! We do not need gay stereotypes anymore. We’re in a new century and era of acceptance where people are allowed to be who they are meant to be, without prejudice. Yes, hatred will always exist in the small minds of some, but if you let that dictate how you write characters for your films, then you really haven’t advanced much as well. I believe we are ALL part of the human race – equal, intelligent, good and evil, and with much to offer as individuals. Granted, I write characters that are outrageous, over the top and a ‘bit much’ for some – but 10 years from now no one will think so.

I’m pretty fearless in my character portrayals – they all have weaknesses and strengths. I good side and a bad side. They’re human. There is such a fine line for ‘adult gay horror’ and I will continue to play with it on film. But in the long run, you’ll never please everyone. So do the best you can in filming what you believe is your truth and reality about people.

Can you speak us about movies in which you played, for other directors (OPENING THE MIND, DEAD SERIOUS, VINDICATION, etc…)? Have you a preference for one of them?

It is always a great learning experience to act in another director’s production. First, it’s great to go into a film with only ‘one’ job - know your lines, act and do what the director wants. As an actor, I’m a sponge and if the director wants more or less from me, I give what he/she wants. That’s what I’m being paid to do. Plus I love to watch how other director’s conduct their set and crew. Some are great and I learn much, some are egomaniacs who offer nothing to the set but indigestion, and others just let everyone walk all over them. When I’m on a set I want the director to take charge of me - I hate being told, “You know what to do”, because I really don’t. I’m not in the director’s mind, so how can I gage what kind of performance they want from me?

DEAD SERIOUS was my second film and an interesting one, because the director was gay, making a gay horror film, but thought I was too “extreme” for his film and wanted my looks toned down – yet at the same time he says he’s trying to portray all walks of the community. I found it insulting, but being still new, I did what I was told. Bart Mastronardi’s VINDICATION was a great experience because Bart rehearsed us over and over like a play and helped us find our character’s center. OPENING THE MIND (still in production after 8 years) is a very visceral serial killer film that put me through the trenches in stunts and torture, much like A FAR CRY FROM HOME. I put a lot of work and energy into that film and still waiting for its outcome. Aside from my performances in my own films, which I have complete control of in post, I do like my performances in SCULPTURE, RIVER OF DARKNESS, KODIE, SHE WOLF RISING and W.O.R.M. But the rest I can pretty much forget about. As an actor you never go into a film thinking it will turn out bad. It’s a gamble and you must give your all just to be recognized. I have turned down many roles that I found derogatory and insulting. I have to be very aware of how I’m coming across on film and not be made a joke out of.

You will direct soon a remake of DON’T LOOK IN THE BASEMENT. This choice surprised me a lot, because the original film is a classic slasher, not particularly inventive. I would rather see you working on a remake of Ted Post’s THE BABY, for example. You would be formidable in Ruth Roman’s part, the darlin’ abusive mother! Why to have chosen DLITB? Is it a movie which specially attracts you — and why?

So funny you mentioned that! Every time someone watches THE BABY they always write me and say - ‘NOW there’s a part for you!’ Which is so funny because I love that movie and I have always felt that Ruth Roman and I share a similar look, attitude and acting style on camera: a little tough, shrewd, and a smart ass who’s a bit over the top. I’d kill to recreate that role on film – especially those denim jumpsuits!! (Laughs)

As for DON’T LOOK IN THE BASEMENT!, it simply holds special meaning to me. I loved this film since I first saw it in the 70’s. As a matter of fact- it was the first ‘splatter’ film I think I ever saw. So it affected me, as did Annabelle Weenick’s great performance as Dr. Masters. My script for the story is very close to the original, but I have added new characters and new plot twists to update it and, hopefully, create a new film that would also make audiences curious enough to see the original. It will also be a low-budget film to maintain the original’s indie spirit. I always felt the story was very strong and shouldn’t warrant becoming another over-glossed, CGI remake the audience will forget 5 minutes after seeing it.

Plus, on a business level as a producer, since DLITB already has a deep fan base, more fans and viewers are likely to want to see it and give it a better chance for a larger distribution deal. I have to be sensible about all of my film’s futures and that they are properly placed to get the most viewing impact.

I promise you Pascal, you won’t be disappointed when you see what I do to this classic. Plus I have my star actors on board like Jerry Murdock, Zoë Daelman Chlanda, Katherine O’Sullivan and other indie greats like Terry West & Debbie Rochon. To have the opportunity to work with all of these great people again and again has been so rewarding.

Don’t you have to shoot another film in the GALLERY OF FEAR anthology? I heard about DOWN THE DRAIN. Is this film already shot, and what does it speak about?

GALLERY OF FEAR is almost complete – It has been a great experience working with so many pros on so many different stories and my partner Anthony Sumner, who directed the segment BY HER HAND, SHE DRAWS YOU DOWN, is as talented as they come. I’m almost finished with editing the DOWN THE DRAIN segment, the story of a lonely substitute school teacher (Jerry Murdock) who discovers a ‘friend’ living in the nearby sewer drains. It’s a kooky little monster story very unlike the other stories in the omnibus. The film still needs some editing tweaks, music and sound mix and should be ready by Spring 2010! I think it is a real return to the old Hammer anthologies of the late 60’s and early 70’s – very polished, beautifully produced and marvelously acted by many indie stars like Debbie Rochon, Jerry Murdock, Raine Brown, Katherine O’Sullivan, Mike Lane, Don Money, Terry West, Zoë Daelman Chlanda, myself and some bright newcomers as well!

Between your works of director, scriptwriter, actor, producer, you don’t have time to miss. How takes place a typical day for Alan Rowe Kelly?

Work, work, work (Laughs)! This is what I do and will be doing till the day I expire! I love this work so much. But what I really hate after all these years is being so damn poor…(Laugh)!

You seem to be very attached to New Jersey. You moreover wrote a book about your hometown, with your mother. In what measure New Jersey does inspire your work?

I lived in NYC for many, many years and it is simply too expensive for me to live there and be the filmmaker I want to be. So I moved two miles across the Hudson River to NJ. There are many reasons I love to shoot in NJ. First- it is simply economical for my budgets and very affordable as far as permits, insurance and freedom to be left alone to film.

Second- NJ has all the main ingredients for perfect locations within a 2-hour drive: Rural, urban and suburban neighborhoods. Large cities, small towns, country, farms, lakes, the ocean and its 250-mile long coastline, mountains, flatlands, swamps and even old abandoned towns and villages.

Plus, NJ is simply a very odd little state with more legends and folklore than I know any other state to have – in certain places you can actually feel it…or at least, I can. My family descended from Lena Lenape Indians who inhabited the state for hundreds of years. I have a deep affinity towards the state’s land because I feel deep inside that I’m rooted here – a kind of déjà vu, if you will.

But, I not glued to here and am always ready to travel and move to any place to make a movie - any state, country or planet! (Laughs) I’m ready to go! And right now I can’t think of anything better than filming in the French countryside ala’ HAUTE TENSION or AND SOON THE DARKNESS!

To finish: If Alan Rowe Kelly’s life was to be screened, one day, and if one asked you to engage an actor to play your role, and a director to shoot your biopic, who would you choose?

I can’t imagine that even happening! (Laughs) I think I have way too much life and scandal ahead of me before warranting a story about me. Plus I still need to make some really good films with hopes that one will find it’s way into the annals of horror and be recognized as a classic many years from now. I think that’s what we all want as filmmakers, to make a great piece of work that will be remembered long after we’re gone.

Thank you infinitely, Alan, to have taken time to answer my questions.
I shall try to preserve your answers in my translation!

Thank you so much for your time Pascal. I’m thrilled to have your admiration and faith that I will continue to make films that will entertain and never limit the audience!

I had a great convo with The Vault of Horror’s Brian Solomon on guilty pleasure horror flicks last night. Come listen, won’t you?