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Long Island native Stevan Mena is an independent filmmaker who didn't rely on the latest digital technology to become successful. To promote his first film MALEVOLENCE, Mena raised $200,000 and shot on 35mm film to achieve the vision he wanted. The dark film was the story of a mother and daughter kidnapped by bank robbers who hold them in the abandoned house where a serial killer lurks. Substituting splatter for suspense, the result was one of the most critically acclaimed horror movies of the past few years. Mena's second film would be just the opposite, though its title BRUTAL MASSACRE suggests horror, it is in actuality a comedy about an inept filmmaker whose final shot at glory brings forth a series of mishaps while shooting. Genre veterans David Naughton, Ken Foree, Gunnar Hansen, and Ellen Sandweiss joined CLERKS veteran Brian O'Halloran and comedian Gerry Bednob in a film that will be released on DVD this coming July. To promote the upcoming release of BRUTAL MASSACRE, Mena answered questions from the Crypt via e-mail about his latest film, the latest on MALEVOLENCE: BEREAVEMENT, his thoughts on the genre, and many more in this Crypt exclusive.
CC: What is it about the horror genre that appeals to you? SM: I love films that provoke a
physical response in the viewer. That's why I love both Horror films and
Comedies. I love to get that reaction, whether it's a laugh or a shriek, it's
the payoff for me. Of course drama is important in order to examine the human
condition and stir serious thought and debate, but the films I re-watch again
and again are the ones that provoke those primal things, like laughter and fear. SM: It started with film music. John Williams was my hero, I originally wanted to be a film composer. Some of my favorite directors growing up were Richard Donner, John Carpenter, Spielberg, Mel Brooks, and Ridley Scott, who remains my favorite. I also have a great love of classics too, Billy Wilder, Hawks and Hitchcock. CC: What was the basis for creating BRUTAL MASSACRE? SM: Brutal Massacre was born out of a cathartic exercise of writing down some of the most insane things I have experienced so far making independent films. It's also a reflection of some of the bizarre and crazy people I have met in the indy horror world, people who take themselves very seriously, and have no idea that they are totally insane. I found great humor in that. Harry Penderecki is basically a caricature of some of the people I've met who has deluded himself into thinking he is making great art with these low budget schlock horror films. CC: For a dark debut like MALEVOLENCE, it would seem that BRUTAL MASSACRE would be the total opposite for a follow up. Being that some of the stories in the film were true, was it those experiences that made you decide to make BRUTAL MASSACRE as your second feature? SM: It's because of the darkness of Malevolence that I decided to do a comedy as my follow up. In fact, while prepping Malevolence 2, I realized the subject matter was so dark, I needed to do something light hearted first, just to clear my head before I submerged back into the filthy mind of a serial killer again. Plus I didn't want people to think that all I did was sit around and think of horrific ways to torture and kill people. I mean of course that dominates most of my day, but not all of it. I wanted to show some diversity. CC: Harry Penderecki is such a likeable character, and his films do sound like they were made in the 1980s. How did David Naughton come about to play Harry? SM: I had made contact with David through email a year before. He had done a film with Brandon Johnson, who gave him a copy of MALEVOLENCE. He liked it, and emailed me to tell me that he would be interested in working together one day. So, when Bruce Campbell was unavailable to play Harry, I sent the script to David, remembering our conversation, and through some prodding by my wife, who is a big fan of David's. David liked the script and came on board. And I'm so glad he did, I can't imagine anyone else playing the character now, he is a brilliant actor, and really creative and positive, a total joy to work with. CC: Amongst the great cast is Gunnar Hansen, who you've become friends with based on MALEVOLENCE. Would you explain how Gunnar became involved with BRUTAL MASSACRE? SM: Gunnar is my BFF. He showed up at the premiere of MALEVOLENCE in Worcester Massachusets, and said he loved the film. He even offered to intro the film before the screening. I'm such a huge fan of the Original TEXAS CHAIN SAW MASSACRE, and we hit it off right away. I was super impressed with his intelligent take on his own work, and the derivative nature of those that have imitated it. I knew he would be perfect to play Krenshaw in BRUTAL. The character required comedic timing, and I knew Gunnar had the presence and intelligence to pull it off. Judging by audience reactions to the film, I was right. CC: One of the best things about BRUTAL MASSACRE is that it pokes fun of filmmaking without insulting the genre, which I think is very difficult to do. How difficult was this in the screenwriting process and what was the intention of making this film? SM: While MALEVOLENCE was a love
letter to the slasher films I grew up with, BRUTAL was made to showcase the
horrors of making an independent film, and just how difficult the process is.
It's why I have so much respect for the independent artist. It takes so much
courage to go out and not only risk your life savings to make a film, but then
you have to put it up for everyone to see (and possibly ridicule). I took a lot
of flak from some horror fans over MALEVOLENCE because of some of the homages I
made, and many of the reviews made me laugh out loud. Some of that experience
was channeled into the script for BRUTAL so I think my respect for the genre was
how I was able to avoid lampooning the genre. Just maybe some of the people
behind the camera. CC: Being that BRUTAL MASSACRE is at its core a comedy, do you find it as a cautionary tale for filmmakers on the struggles of independent filmmaking? I ask because I think it is a film that should be played in film schools. SM: Absolutely not. Harry's an idiot, and a lot of the trouble he encounters is caused by his own stupidity. However, certainly there is always the element of surprise on any film, and if anything, that should be the warning to any prospective filmmaker, to expect the unexpected, and that whatever can go wrong will if left unchecked or in the hands of amateurs or mercenaries. Harry's experience making BRUTAL MASSACRE is an extreme example of that. So maybe in that case, it should be required viewing. Yes, good call.
SM: A good script and planning. Everything else is up to fate and chance. CC: I thought of all of Penderecki's "films," RETIREMENT HOME was my favorite. I understand that one of the extras on the DVD will be trailers of his work. Do you have a particular favorite of Penderecki's film titles? SM: Probably EAT SHIT AND DIE. It was the only film I can think of that was so over the top and in bad taste, even the title had to be censored. Harry is a genius. That and SASQUATCH AT THE MALL.
SM: No, the scene was cut for
time. We also cut Mick Garris's scene where he talks to Harry in the lobby
because it was all just too long. SM: Hmmm... have to wait and see, eh? CC: Being a fellow Long Island native, what are some of the benefits of shooting on Long Island and Pennsylvania and what are your thoughts on the Northeast independent horror scene? SM: There's really no benefit, I just know the area, so I'm comfortable here. I do feel that Pennsylvania lends a certain authenticity to a horror film because it's such a scary place in real life. Especially Bethlehem. Scary man. CC: You've said previously that you have a shooting town in Bethlehem, Pennsylvania, where you've shot all your films to date. What is it about the town that draws you to it for each project? SM: I don't really know anymore. They wouldn't let me shoot at Bethlehem Steel, but they let Michael Bay. I was so loyal to the Bethlehem area, and they turned around and stuck a knife in my back. So fuck them. I'm off to Michigan for the next one I think. Bethlehem smells like charcoal anyway. CC: Back to MALEVOLENCE, I have to ask what was the feeling of having the film playing in theaters on Long Island, your home? SM: Amazing. It was great. It's
cool buying a ticket to your own film, seeing it on the marquee outside. That's
what it's all about. And we got held over four weeks at National amusements. We
even beat RESIDENT EVIL! Not sure what happened in the rest of the country. But
I can only buy so many tickets, you know? (just kidding). SM: MALEVOLENCE: BEREAVEMENT is like WAR AND PEACE. It's an epic compared to the first film. Its running time is over two hours. It's pure evil. I know people are going to think I'm completely deranged after this one. Many complained that MALEVOLENCE had little to offer story wise. MALEVOLENCE: BEREAVEMENT has so much, I'm trying hard to fit it all in. It's monstrous. But I think for sure, it's like nothing anyone has seen before. Hopefully that's a good thing. One thing is for sure, Alexandria D'Adario is going to be the next Jennifer Connnelly. She is amazing! CC: When should we expect to see MALEVOLENCE: BEREAVEMENT? SM: Sometime around 2014. CC: Where do you see the horror genre within the next five years? SM: I see a revolt against the status quo of films made just for name recognition (remakes), and films that are all style, no substance. Story is king, and I think we will begin to see more films like The Exorcist and Silence of the Lambs. I think Rob Zombie was on to something special with HALLOWEEN, I wish he had seen it all the way through, it might have become something unique and ground breaking. Imagine if he said fuck everyone and created a Halloween that was completely unlike the original, one that didn't break into 2 halves. I was actually really into the film until about 40 minutes in. I hope MALEVOLENCE 2 is groundbreaking in that way. The film is all about these characters and their ordinary lives, and how evil can just come in and destroy everything, and how it's not always visible on the surface. People need to care about the victims. That's what is missing. CC: Being that you shot MALEVOLENCE and BRUTAL MASSACRE on film, what is your opinion on the current wave of films being shot on digital and is it a medium you would consider doing in the near future? SM: Digital is great, but it takes too long to light, and there is too much emphasis on color and monitors and everyone on set has an opinion and it's all too much for me. For now. I'm a slow adopter of new technology. Besides, unless you’re shooting ultra low budget, I don't see the point. I did the math, it only saves me at the most $30-40k overall, once you factor the scanning and or film out. I don't know, I'm pretty excited about this new Red 4k camera. It looks amazing. I guess it's inevitable. Who shoots pictures on film anymore, right? Just ask Polaroid. CC: What is next for Stevan Mena? SM: Next is TRANSIENCE, a Supernatural Thriller. It's my best script by far, something I've worked on for over 6 years. Still working on it. It's my DRIVING MISS DAISY. CC: I leave the last word to you. SM: Last Word, eh? Well, keep seeing movies in theaters. And buy lots of popcorn and candy at high prices. Because if the internet kills theaters, I'll be very upset. We all will. Imagine trying to explain the moviegoing experience to your kids as they watch movies on their Ipods. I remember growing up how much fun it was to go and play Pinball or STREET FIGHTER 2 at the local arcade. Now they put those things in museums. It sucks. I miss arcades. I miss beating up strangers on MORTAL KOMBAT 2. And fuck playing online. I want to see the punks' face as I four combo his ass into submission and continue on his quarter. CC: Thanks for your time Stevan and best of luck with BRUTAL MASSACRE. SM: You’re welcome.
(Special thanks to Ed Peters at Sue Procko Productions)
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