With some of the comments the past several weeks where a few have taken the position the titles of my new film, namely they have appear an attempt to coast on abigger studio film's marketing and publicity. To this I say, well, I'm an exploitation filmmaker. I have always been that. I grew up on the great exploitation films of the 50's, 60's and 70's. And because you make an exploitation film, that doesn't mean you can't try for something creative that will find acceptance in a wider public. Good exploitation to me was a film that got made because of a studio (or independent hit) and yet succeeds in becoming a unique film all its own. So I grew up on Roger Corman, AIP, Run Run Shaw and the many Drive In movie producers. The movies were cheap rip offs of bigger studio films but they had a reckless, fearless creativity to them. Yes, everyone knew they were piggybacking on the marketing and promotion of bigger studio films, but many of the actual films were liberated in the making of the films and it produced a lot of creativity, even in the bad films. Without the "exploitation" of a bigger film's marketing and promotion, these films would have never been made. That's really wha my first film was, The Sword and the Sorcerer was pure exploitation. It worked because I wanted make memorable exploitation. I'm proud of being an exploitation filmmaker. It's given me a career and within it's narrow perimeters, a chance to try different ideas. There was a saying we use to quote early in our careers, "If its not trailer material, don't shoot it". I can't remember who said it, but it certainly influenced my first two films. So, to all my nay sayers and critical friends, tough. I embrace being a exploitation filmmaker. And yes, Interstellar War will be a pure exploitation film. We don't have "stars" to sell it to the public, but we can design the presentation of my film to exploit whatever is working in the public. The film itself will be inventive, creative and as well done as we can make it. Unlike the SyFy movies or the "mock blockbuster films by a company called Asylum, we respect our audience. We may not succeed at all aspects of what we are trying to make, and the budget may show from time to time, but we are trying to DELIVER THE MOST CREATIVE MOVIE we can. So there... - ALBERT
Another screen grab from a scene with Kelsey Carlisle as Lord General Kazan. These are still very early test comps and have no refinements yet, or color correction. Background sets are temp. But we are getting close. Kelsey is the perfect actress for how I want to shoot this. A big part of the film is the stylized look. Like with Sergio Leone's Once upon A Time in the West. Memorable faces, expressive eyes. Kelsey Carlisle is perfect for how I imagine the film looking. She's beautiful but in a unique way that captures not only the character but the film's visual style as well. Takes a great make up artist like Jacki Heston to make it all work at the film's 4K resolution.— with Cynthia Curnan, Kelsey Carlisle, Brad Thornton and Jacki Heston.
I love some of these retro reviews of my older films. Here's one on my film, Alien from LA. It starred Kathy Ireland and we shot it Africa. In these retro reviews the reviewer sees the layers of stylization I was trying for. Like Radioactive Dreams. I think after this film, I decided to not make the surrealistic visions I had. I tried to go less style and more straight forward. My next film was cyborg. Go figure...anyway here's the retro review of Alien From LA who originally was titled Odeon. But it was changed, of course. - Albert.
CLICK HERE TO READ REVIEW.
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