Horror Business (2005)

HORROR BUSINESS is a series of interviews with, and an advertisement for, some guys who call themselves "independent film-makers" when they're feeling mellow, otherwise they use terms like "guerilla", or "subversive". More than anything else, this is a documentary about lost souls, about people who rarely, if ever, understand how far it is that their reach exceeds their grasp.All of these guys are under the spell of a handful of horror classics from the '60's and 70's, and they seek to further develop these films and their concepts. But this is misguided thinking. Films like NIGHT OF THE LIVING DEAD or DAWN OF THE DEAD make pretty complete statements all on their own. Making one or several imitative efforts, however flattering, adds nothing of value to the original, and does not make any meaningful contribution to the genre, or to film-making at all.Secondly, it seems that these unwashed youths, for all of their angry, bitter worshipfulness of these original films, don't really understand the films to begin with. For example, THE Texas CHAINSAW MASSACRE is about far more than some maniacs and some lost teens; it is about the ability of limited, wrongheaded personalities to destroy more developed ones, and the tendency of the devouring mentality, as it appears in its many forms, to consume things of value while contributing nothing in return. For another example, it is only on the surface that NIGHT OF THE LIVING DEAD is about shambling revenants; the soul of the film is far more about the how people react to widespread disaster and the destruction of their status quo by turning on each other. Both of these films ask the viewer to consider to what degree have predatory, merciless tendencies saturated human societies.All of this is apparently lost on the hapless, vaguely aggravated personalities that are the subject of HORROR BUSINESS. They imagine themselves as subversives preaching the gospel of grindhouse horror, when there's nothing subversive about that. Such films as they honor have already been acknowledged to be fine, worthy films by the movie critic community. There are no forces massing up to denounce or attack the original Texas CHAINSAW MASSACRE. The fact that there ever were is simply a testament to the shocking nature of the films.It is really only these guys' own paranoia, and their natural status as superfluous, ineffectual people that causes them to frame their perspectives in such "us vs. them" terms. While they may like to think that they have made some dramatic choice and went down some dangerous, subversive path, they haven't turned away from mainstream film-making, because mainstream film-making never wanted them to begin with. They do not see that they have nothing to offer in terms of innovation, because their perspective lacks the stipulation that someone in entertainment, or any kind of story-telling capacity, should have to have anything to offer in the first place. They hold mainstream film-making and filmgoers in contempt for not embracing some horror classics from 30 years ago, and it is lost on them that if these films had been accepted outright and loved universally, they themselves would not be obsessing over them today.If they really wanted to be subversive, they would try to make the most intelligent films they could. They would study endlessly and mine the world for worthy material that would teach people things they didn't know. They would seek to make intellectual films about little known historical events, or scientific concepts. They wouldn't make an endless stream of bad zombie films, whose ultimate purpose is merely to fill out the empty spaces on the new release shelves at Hollywood Video.But these are men who hold to their illusions with a death-grip; one guy still wants to have long rock star hair though he's basically bald on top, which is a metaphor for how these guys avoid facing the truth; that they are not great filmmakers waiting to be discovered, but rather mere obsessives with eroded imaginations. Balding Guy even throws a hissy-fit like a prima donna rock star, except that it is directed at at some fast food guy in a drive-thru window. It is exactly like the Tenacious D. drive-thru skit, but he is actually serious.Warning: while Joe Bob Briggs and Sid Haig are featured in the credits, they are only in the film for a few seconds each.

Saw this at a festival last year, looking forward to its DVD release in '07. It's all about the struggle, really, and if you're an in-the-trenches, do it yourself indie filmmaker you'll absolutely appreciate it. But it's worth checking out even if you are NOT making films. The struggle to push through the odds and reach a goal is one every viewer can relate to, and the group of artists focused on is always entertaining to watch.The director focuses on several people in various stages of production in their low or lower-budgeted horror films, and speaks to some key industry folk(Tony Timpone from Fangoria, Sid Haig, Joe Bob Briggs, HG Lewis and others) for perspective. What's cool about this documentary is it has its own distinct personality, it tells its story clearly but with its own visual flourish that most docs don't even attempt. It's got a central vision and a warm heart that shines through it, it never goes off on tangents. I was into it from the great opening sequence where a young boy puts on his monster makeup and joins his friends in making their first creature epic in the backyard, with their little film cameras.American Movie fans will get to check out what Mark Borchardt has been up to since "Coven", and you'll see up and coming directors like Dave Gebroe sweat through a grueling day of shooting on "Zombie Honeymoon"(which turned out great). Very inspiring and worth checking out, looking forward to part II.

Horror Business review by Wes Vance of DEADPIT.COM (DEAD PIT RADIO) While I'm a huge fan of the horror genre and of cinema in general, its been quite a long time since I've been truly captivated by a film. Some examples (not all horror related but nevertheless) are The Shawshank Redemption, The Texas Chain Saw Massacre, Carrie, Stand By Me, Friday the 13th , The Evil Dead, Halloween, Psycho, Dawn of the Dead..the list goes on and on but as you can tell none are younger than 12. But auspiciously enough I've found a brand new film that captivates me, and holds my interest all of its 82-minute run time.This film is from Christopher P. Garetano who documented 'Horror Business' over the span of 3 years. I'm a big supporter of documentaries and the rare chance to have a horror-based documentary just pleased the hell out of me. Garetano interviews and follows the progress of many independent filmmakers including: Mark Borchardt (from another great documentary in 'American Movie'), Ron Atkins and Dave Stagnari who seems to feel EXACTLY the same about the horror industry as The Creepy Kentuckian & Uncle Bill! Also the documentary has special appearances from Sid Haig, Joe Bob Briggs and a rarely out of character Lloyd Kaufman.The thing I loved most about the film is just getting in the mind of these independent filmmakers, discovering what motivates them to continue to make films and what they think of the mainstream horror films. If you're an independent filmmaker, a horror fan, or a third party this is a must see film!

It's about two percent movie making and ninety-eight percent hustling. It's no way to spend a life." Orson Welles Every review of this film will probably state this quote. Which is OK, because the film opens with it. But it's the perfect summary as director Christopher Garetano explores and investigates why we're drawn, filmmakers especially, to horror in general. It's also an examination of the spirit one tries to hold onto in a harsh business to enter, let alone prosper in. So you wanna make movies? Why? And if so, why horror? What is it that makes us come back again and again to the genre? What would drive you to put "regular life" on hold indefinitely to create these twisted visions? Director Garetano- creator of the horror magazine Are you Going? (which he put on hiatus to make this film) and the award-winning experimental short INSIDE- decides to avoid horror's usual suspects (Stephen King, George Romero, Wes Craven etc.) and focus that question on the little guy, five or six independent up-and-comers with varying degrees of ambition and ability. We meet such distinct iconoclasts as lone wolf David Stagnari, who spends years honing a surrealistic black-and-white nightmare called Catharsis, and wondering if there's even a place for his work in the era of glossy, soulless, empty films..Button-pusher Ron Atkins, who cranks out over-the-top tales of decadence and madness; John Brodie, a David Icke conspiracy theorist/producer who helps Ron complete a video dramatizing the alien takeover of the American Government; and John Goras, a mild-mannered animator who gets his angst out through titles like Son of God vs. Son of Godzilla. We also spend some time on the set of Zombie Honeymoon, where director Dave Gebroe aims for a more dramatic, character-based conflict amidst the body parts, courtesy of FX master Tate Steinsiek. And with Brian Singleton, who works on his own documentary of the paranormal and his own sci-fi/horror hybrid flicks with no money, time, or apartment to his credit… We also visit on set with Mark Borchardt, who indie and documentary fans will remember from 1999's American Movie. This film, however, is not a sequel; we only deal with Mark as he relates to the theme of the piece. As engaging as always, Mark actually seems to have lost his drive after this previous film Coven in the late 90's and we get to watch him regain it with his first feature Scare Me. An excitingly visual documentary, Garetano avoids static, talking heads for the most part and peppers his film with colorful visual montages, often dramatizing the spirit of film-making a la Errol Morris; the film opens with a little kid in his bathroom applying KISS-like horror makeup and joining another kid brandishing a movie camera, recreating Night of the Living Dead on a child's level; it perfectly sets the playful tone and will make a lot of struggling indies grin and think back to their formative years. It's never distractingly stylized except for some occasional interviews, which are captured at jarring angles that make you crane your head. Editing is tight and the timing makes some funny moments even funnier; There's some laugh out loud scenes as we follow these persistent dreamers through their highs and lows, and every personality he follows is at the least, interesting; with egos ranging from swollen to nonexistent. Yet the material never becomes condescending or a point-and-laugh affair, nor a 'Project Greenlight' chronicle of on-set mishaps and doubts. These folks, like all aspiring artists and craftsmen, were touched by films in their youth and will stop at nothing to be able to touch them back. The fact that the films that set them off were full of monsters, gore, madness and suspense is irrelevant. It's an honest yet hopeful look at the no-budget end of genre film-making. The doc briefly turns to some low budget genre pioneers and well-known horror celebs. H.G. Lewis ('The Godfather of Gore') discusses entertainment vs. indulgence, Sid Haig(The Devil's Rejects, Spider Baby) talks commitment and "how much is too much," Tony Timpone(head of Fangoria magazine) shares his views on the genre's viability, and Joe Bob Briggs nails it when he discusses what usually sucks about low or no-budget films(stop casting your non-actor friends!). Some of the work we see from the directors is barely above the amateur level, some more ambitious and detailed; but their resulting work isn't the point. (though there's a great ending sequence where a lot of them accomplish their immediate goals) Against all odds, they are out there shooting, getting it done, (hopefully) learning more about their craft etc. How many filmmakers start out that way and end up just talking?