MEDIA DETOUR reviews HELL TOWN

HELL TOWN review by MEDIA DETOUR

High school can be a difficult time. Hell Town tackles the issues that present themselves when the teenagers aren’t studying, doing work or playing sports; it is about the drama that occurs outside of the classroom, when they are left to their own devices. It is about the relationships that form, both sexual and romantic, and the way that they interact with one another as friends. They deal with the problems that arise when there is a girl who seemingly sleeps with everybody in school, or how it would be for a homosexual jock who is wrestling with the fact he is gay. A goth kid is misunderstood and ignored by mostly everybody while another girl tries to make ends meet by working a minimum wage job.

There is also a killer, nicknamed by the media as the “Letter Jacket Killer”, running amok.

Hell Town is an exercise in genre mashing that luckily doesn’t lose sight of its goal. We witness three episodes of the titular fictional melodramatic soap opera, only the twist is that the film makers inform us that seasons 1 and 3 have been lost in a fire and these episodes are remastered versions. We get dropped into what is most likely the middle of a season, and we get the typical prelude which tells us what happened previously. We essentially have a movie where the actors are playing actors who are playing characters on a television show.

Which means that what unfolds on screen is hammy. Incredibly and intentionally so. The actors are given cheesy lines that they deliver with true conviction because they are in a soap opera. Anybody who has ever watched one knows that they have a deliberate pulpy charm but are rarely known for any form of excellence. Some of the worst lines ever committed to film are said here, and watching Owen Lawless, as Jesse Manly, excellently declare “I don’t want to be gay” is a sight to be seen. It’s funny and that’s what counts. None of the actors are giving award-winning performances but to expect that from this movie is missing the point.

Sometimes I struggle with reviewing films that are purposely bad, just like I don’t know what to score a movie like The Room which is unintentionally terrible. Any schmuck can make a bad movie but not crossing the line between good parody and excessive, unoriginal crap can be a challenge. Soap operas are ripe for the picking so this could have been well have been just another bland mockery of something that is easy to make fun of, but it’s so much more than that.

In an attempt to switch things up, directors Steve Balderson and Elizabeth Spear have also embraced another genre with conventions so silly that it would take a brain dead idiot not to notice them: the slasher flick. Interestingly enough, the slasher has gotten a little bit of recognition — at least in my eyes — over the past two years, because of the fantastic film The Guest. The concept remains the same but like the soap opera aspect of the film, it is self-aware. There is blood and guts, but it’s not over-indulgent.

Incorporating this brand of horror into the movie only heightens the experience and adds more substance. It makes Hell Town more original than it would have been had they merely stuck to the soaps. While it is very easy to enjoy the absurdity of the characters on that level alone, there is also the mystery of who is going around terrorizing them.

It’s over-the-top and the people are vulgar. Since it is a low-budget, independent feature, it has to work within certain constraints that bigger pictures don’t have to. While it strives to be nothing more than an entertaining time, the nature of it hides talented film making. While it may get lost among the main talking point (how silly it is), the cinematography here is excellent. The angles, the lighting; all of it brilliantly mimics soap opera conventions.

In that same sense, I also got a Lynchian vibe from the whole ordeal. It lacks the surrealism of Twin Peaks, but there’s a menacing cloud hanging over the town at all times, where even someone running track seems more sinister than it should. While it is filmed differently than Blue Velvet, there’s still a similar tone; the town is more evil underneath its plastic and normal exterior than an outsider may perceive.

When it ended by telling me what is going to happen next time on Hell Town, I came to my own realization: I wanted this show to exist. I’d watch the shit out of it.

Get HELL TOWN @ DIKENGA.com

FANBOYTV reviews HELL TOWN

HELL TOWN review by FANBOYTV

You never know what you’re in for when you sit down to watch a movie made with a smaller budget, with no famous actors, and that is self-distributed. Sometimes you can have a good result from somebody who knows what they’re doing, and knows how take what they have at their disposal, and make it work. Sometimes you have an unfortunate result, where it seems like the idea of “let’s make a movie” was the whole pitch and “knowing how to make a movie” was of secondary concern. HELL TOWN was, pleasantly, an example of the former. HELL TOWN knows exactly what it is, what it’s doing, and how to communicate that to the viewer.

HELL TOWN presents itself as a television show, pulled out of some long forgotten studio vault. We are told right away that we are watching episodes 7, 8, and 9 from season two of HELL TOWN the series, and also informs us that seasons 1 and 3 have been lost in a fire. While there is no actual HELL TOWN the series, the movie invites the audience to be a passive participant in its own nested mythos.

We’re introduced, quickly, to our cast of characters. The hunky shirtless jock, the Marsha Brady on the outside/Betty Page on the inside teen princess, the jealous and barely-holding it together sister, the scheming nurse, the aging millionaire father, the acerbic friend, the ostracized gay brother, the middle class adoptee with a chip on her shoulder. In any other film, this use of tired archetype characters going through the motions on stories that have long ago been beaten to death, because HELL TOWN is a play on these types, they work very well. What’s more is that HELL TOWN toes the line of parody without becoming overly referential and dipping into Jason Freidberg and Aaron Seltzer “bad parody” territory.

Like sands through the hourglass, so are the days of our character’s lives. Trish wants to sleep with Blaze. Blaze is sleeping with Trish’s best friend. Butch lusts after Trish. Laura lusts after Butch. Jesse lusts after Bobby, and Bobby is totally into it, but Jesse is struggling with admitting his homosexuality. B.J. is waiting around every corner to watch everything fall apart and Chanel is coping with her comatose adopted mother, and the fact that her sworn enemy is trying to sleep with Blaze. Most of this wild setup unfolds in the first ten minutes of the film. All of it would be very effective satire of the soap opera genre, but to keep things fresh, bloody, and interesting; one of these characters is picking the others off one-by-one, under the moniker “The Letter Jacket Killer.” This shadowy serial murderer seems to have an agenda, and collects the varsity letters from the blood soaked coats of the victims.

Both genres that are on the chopping block in this movie, over-the-top melodrama and over-the-top slasher horror, lend themselves well to parody, and HELL TOWN finds a nice comfortable nest to hunker down in. Here, it can deftly straddle a line between the two, and still keep things fresh and funny. Between bloody castration and violently deadly fellatio, we also have a soap-opera mid-season replacement of an actress. The part of Laura Gable is played by two separate actresses, with little explanation given and, if one is a practitioner of soap operas, there’s probably no explanation needed.

With that we have the cornerstone of what sets HELL TOWN apart from most other parodies: the idea that in setting up this nested mythos, we have the actors playing their parts on two different levels. On one level we have the characters as presented in the narrative. On another level we have actors playing actors playing the characters as presented in the narrative. So one actually finds that while the characters on the narrative level aren’t giving a natural-feeling performance, they aren’t meant to. They’re actually playing actors, giving very boisterous and over the top performances in a ridiculous story, and those performances serve the over-all film very well. Butch may have a few ham-fisted lines, but Ben Windholz is giving a very sincere performance, of an actor playing a character who’s had ham-fisted lines written for him.

Taken separately, I think the idea of yet another horror parody or another soap opera parody might have worn thin. However, HELL TOWN manages to blend the two very nicely. It’s a creamy mixture of the ridiculously melodramatic with the violently macabre.

GET HELL TOWN @ DIKENGA.com

EDDIE ROTTEN reviews HELL TOWN

Sometimes when you walk into a theater, your attention is drawn to the floor, where thousands of pop corn pieces crunch below your feet. And the seat you find has plenty of room, but the screaming child next to you, convinces you that his desire is to annoy you and prevent you from watching what was supposed to be “The best thing since Friday the 13th”. Well, watching a movie at Austins Lakeline, Alamo Drafthouse was nothing at all like that. PROPS to having a clean, kick ass place to watch bad ass movies! The food was killer, the seats were to die for, and there was more beer on tap than I can ever remember…. Seriously, there were lots of original beer.

My name is Eddie Rotten. I’m host of the Zombie Life Podcast. And myself and crew (Red Rum, Lisa Deadly, & Eric the Producer) were invited to watch the World Premier of HELL TOWN. Our podcast is a humble one, but our goal is to have fun, with fun people. And there could be no other perfect group of humans than the directors and cast of HELL TOWN!!!

We were fortunate enough to interview the award-winning directors Steve Balderson and Elizabeth Spear, along with cast members Kyle Eno, Owen Lawless, Sarah Napier, and BeckiJo Neill. And right from the very start, it was a party!

After about 2 minutes of quick talk, I threw my notes away completely, and decided to have an unscripted conversation with some incredibly talented, and funny people. The energy this cast had was contagious. I giggled… a lot! Director Steve Balderson has a presence that anyone would want to cling to and learn from, and it shows in how close his cast is. They all were in love with the story when they first read it and decided to jump in head first, make a small life sacrifice, and make this awesome film.

Lets talk about the film.

Hell Town takes place around a small group of friends, and a football team by the name of, the HELLIONS. Tell me that’s not bad ass! A plot develops, including jealousy, questionable sexuality, people turn up missing, no one knows who to blame, and bingo! You have the most original and bizarre horror comedy ever created. Elizabeth Spear and Steve Balderson guide their story through some of the most uncomfortably hilarious moments I have ever seen on the silver screen. The packed movie house was littered with screams, laughing, clapping, OH MY GOD bursts, and even a couple dry heaves by our wonderful Producer Eric.

To the very end of Hell Town, there is no prediction on what will happen. The movie is filmed as a Soap Opera. But much, much better. If Days of Our Lives was half this good the world would be a better place. Inside our interview, we were told by Steve Balderson, that a fire had destroyed a large part of their film, and we would see 3 episodes of Hell Town. In my humble opinion, I can dream upon dreams that there will be more Hell Town in the future, but I was so pleased at what I saw. It could stand alone as its own film, with no follow up, and still kick ass! Everything from the music production, to make up and lighting was stunning. Never did I once feel that it was a lower budget film, and that is testament to the power and creativity of Steve Balderson and Elizabeth Spear’s direction superiority.

Hell Town is a refreshing film. It’s a fun film. It’s a film that you want to take someone to, then drop them off and go back to watch it again. It’s not over saturated with character building, yet leaves you feeling oddly close to a character when they die a bloody, violent, hatchet swinging death…. just playing. That didn’t happen. No spoilers here, but seriously, you leave feeling satisfied, but ready for more. And when you get to watch it with the people that made it? Well, hell… there’s not many things cooler than that now is there?!

Austin Horror Society did a Q and A with the directors and cast of Hell Town after the film was over. The cast was open to questions and honest with their answers.What an incredible evening!

In the end, if Steve Balderson and Elizabeth Spear decide to continue the legacy of HELL TOWN, I for one will be first in line, with my HELLIONS Letterman Jacket on. I want to thank them and the cast for making movies fun to go to again, and doing it with bloody elegance, and seemingly effortless direction. Two thumbs way, way up.

Your Hellion for life
EDDIE ROTTEN
ZOMBIE LIFE PODCAST

*HELL TOWN screens this Saturday 16 May at 7 PM in Charleston, SC where it is nominated for 6 Crimson Screen Horror Awards.  For details visit www.DIKENGA.com

HELL TOWN award nominations

 

Congrats to all #hellions out there!  HELL TOWN is nominated for 6 Crimson Screen Horror Awards and will screen in Charleston 16 May 2015 at 7pm.  It’s easy to be a #hellion, simply use the image below for your new Facebook Cover pic to help promote HELL TOWN!

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ZombieLife talks to HELL TOWN cast/crew

This radio interview with Eddie Rotten and ZombieLife Podcast was one of the coolest experiences I’ve had.  I was joined on the night of the HELL TOWN premiere (presented by the Austin Horror Society at the Alamo Drafthouse) with Elizabeth Spear, Owen Lawless, BeckiJo Neill, Kyle Eno and Sarah Napier.  Listen to our interview HERE or by clicking the logo below.

ZombieLife logo 2

Next HELL TOWN screening is in Charleston, SC at Crimson Screen Horror Film Fest on May 16.  Details at www.DIKENGA.com

 

Interview with HELL TOWN co-director Elizabeth Spear

The Austin Horror Society presents the world premiere of my new film HELL TOWN tomorrow night in Austin, Texas at the Alamo Drafthouse Lakeline.  Tell all your friends in Austin to go see it!

Here’s an interview with co-director Elizabeth Spear on KOOP 91.7FM in Austin.

http://www.lightscameraaustin.net/elizabeth-spear-april-2015.html

HELL TOWN: Review by Andrew Shearer for VOLUME ATHENS

HELL TOWN
Review by Andrew Shearer for VOLUME ATHENS

You can’t just run around making comedies about high school murder and mayhem anymore. It’s far too serious a subject, and even now, revisiting a classic like “Heathers” (1988) feels a little wrong. There’s a reason why Hollywood opted for adapting “The Hunger Games” rather than doing an English-language remake of “Battle Royale.” If you’re going to make a movie where kids are killing one another in the hallways, you’d better be doing so with a straight face.

Unless you’re Steve Balderson.

When I saw his first film, “Pep Squad”, (2000) I couldn’t believe anyone would have the audacity to release such a film (it was actually made in 1998). Centered around a girl named Cherry who goes on a violent rampage after not being nominated for homecoming queen, Balderson’s world was about as far from reality as you could get. To call it irresponsible film making would be a compliment, as there was no attempt made at holding up a mirror to the potentially disastrous consequences of teenage angst in American society. It was gross, it was hilarious, and it was necessary.

Cut to over a decade and thirteen features later, Balderson makes a return of sorts to his roots with “Hell Town”, a wildly original exercise in what John Waters once called “the theatre of the ridiculous”. Presented as three episodes of a non-existent television series, Balderson and co-director Elizabeth Spear (“Roundball”) throw out traditional story structure by placing the viewer in the middle of an already established set of characters up to their eyeballs in high drama. Trish (Krysten Day) is a Marsha Brady clone making a list of potential prom dates, Bobby (Blake Cordell) is secretly in love with track star Jesse (Owen Lawless), Mother Manly (Pleasant Gehman) is in a coma, and that’s just a small piece of it.

Also, there’s a serial killer that’s bumping everyone off, one by one. Fans of “Friday The 13th” will enjoy the creative spin on the famous arrow kill and will delight in the unbelievable “death by donuts” scene, but there’s something for the “Twin Peaks” crowd as well: Gehman also plays a dual role as the attending nurse (sharing nearly ever scene with a comatose version of herself) and one character is replaced with another actor between episodes. It’s surreal, it’s disgusting, it’s high camp, and yet there are still moments of quiet, understated artistry that speak of film makers with more on their minds than just spilling blood and making jokes.

Despite its blatant disregard for anything resembling political correctness, there is more going on with “Hell Town” than your typical indie shocker. Balderson and Spear never go for the cheap laugh, the obvious gag or the tried-and-true high school genre stereotype. Nothing happens the way you expect it to, no one behaves quite the way their appearance would suggest, and the silliness has a razor sharp edge that pokes you any time you’ve started to get too comfortable. Best of all, “Hell Town” exposes most television series for what they are: a glorified soap opera hidden under a higher concept, making you wait far too long to see anything happen.

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Next week April 23, 2015, the Austin Horror Society presents the world premiere of HELL TOWN in Austin, TX at the Alamo Drafthouse.  Open to the public.  Cast & crew in attendance.
Tickets and details: www.DIKENGA.com

HELL TOWN: Review by UK film critic MJ Simpson

HELL TOWN
Review by UK film critic MJ SImpson

For those of us who have been following Steve Balderson’s career, Hell Town is exactly what we have come to expect, in that it is completely unexpected. For starters, it’s a horror film. A black comedy, certainly, but revolving around a serial killer, and some of the deaths are quite unpleasant and gruesome (in a blackly comic sort of way).

Steve’s work has bordered on horror before: Pep Squad was a tale of high school psychopathic murder dark enough to play at genre festivals like Fantasporto (where I saw it, and first met Steve’s producer father Clark). His sophomore work (and magnum opus), the stunning Firecracker certainly contained some disturbingly horrific elements, not least its Browning-ian use of real sideshow freaks. And before Pep Squad Steve even made an amateur, feature-length vampire film. But this is his first full-bodied horror flick.

It’s also a soap opera. Not figuratively or metaphorically but literally. Taking the concept of the three-act structure to its logical conclusion, Steve and co-director Elizabeth Spear have fashioned the story as three consecutive mid-season episodes of a fictitious TV serial, including opening and closing credits (inspired partly by the modern habit of watching TV episodes back to back in a ‘box set’). The acting is deliberately mannered (as is the direction) but not over-the-top or played for laughs. We’re not watching Acorn Antiques here.

The story concerns two families: the Manlys and the Gables. Trish Gable (Krysten Day, a regular at Wamego’s Columbian Theatre) is the perky, peppy blonde prom queen looking to give away her “other virginity” to the right guy. Her bitter, jealous sister Laura is played by BeckiJo Neill in ‘episode 7’ and then recast without explanation from ‘episode 8’ onwards in the person of Jennifer Grace (Marybelle in The Casserole Club), who looks almost nothing at all like her predecessor. Bobby (Blake Cordell) is their slender, effete brother who is not entirely out. Moody emo BJ (Sarah Napier) and their father (Jeff Montague) complete the family. (Montague is missing from the IMDB cast list, possibly because of… well, you can google the guy.)

The Manly boys do their best to live up to their name by wandering around shirtless for much of the film. There’s Blaze Manly (Matt Weight, also co-producer: Ian in Occupying Ed), his brothers Butch (Ben Windholz) and Jesse (Owen Lawless) plus sister Chanel (Amanda Deibert, standing out among a strong cast). Deibert was Tiffany in The Far Flung Star and Lucy in Occupying Ed; she has horror previous including Andrew Muto’s Blood Runs Black and was even in a Creep Creepersin movie! Chanel is Trish Gable’s nemesis and, in a running gag, works in every dining/retail establishment in town. Of course, it wouldn’t be a Steve Balderson joint without a role for Pleasant Gehman and here you get two Plezes for the price of one. She is ‘Mother Manly’, lying comatose on a bed throughout, and also the scheming nurse who cares for her.

Among all the unrequited crushes, backstabbing bitchiness, repressed sexuality, sibling rivalry and general small-town angst, there is the little matter of the ‘Letter Jacket Killer’ who is offing local youngsters in a variety of sadistic ways. Well, I say ‘youngsters’ but in the grand tradition of American movies, all these ‘high school students’ are clearly in their mid-twenties. And within the artificiality of the soap opera conceit, that is exactly as it should be.

The two-headed directorial beast that is Steve and Liz manages proceedings with an acute awareness of both soaps and slashers, never missing a trick for a camera cliché, a hackneyed line of dialogue or an overwrought bit of plotting. It’s a truism that you have to be very good at something in order to effectively lampoon a bad version of that thing without yourself appearing bad, and that’s certainly the case here (the sine qua non of this principle is, in my humble opinion, the Bonzos track ‘Jazz, Delicious Hot, Disgusting Cold’ – what do you mean, you’ve never heard it?). Anyway, Steve is of course a hugely talented and experienced film-maker whose career I have been following for the best part of two decades. Elizabeth Spear is a new name to me.

According to the IMDB (and with all the caveats such a phrase implies) she has made seven previous features since 2003, including dramas, comedies, a documentary, a war film; some of them co-directed with other people. It would seem from Hell Town that she meshes well with Steve B. But then a real TV soap would have different directors for different episodes anyway.

I’m no soap-watcher but I do like a nice slice of horror and Hell Town works admirably as a pastiche of the slasher genre, benefitting (I believe) from having been made by somebody who normally works well outside said genre. Far too many ‘slasher comedies’ are lamentably unfunny and self-indulgent: of interest only to obsessive slasher fans, the sort who don’t care about character, only about deaths. By presenting the tale of the Letter Jacket Killer as a slice of soap opera, Steve and Liz foreground the characters. And although some of the minor ones outside of the two main families have little time to register before becoming bloody corpses, we can infer that we would have known them a whole lot better if we had seen Season One and the preceding six episodes of Season Two. (There is an opening caption explaining that the entire first and third seasons on Hell Town have been lost, and I really hope that Steve makes a lot more of this fictitious ‘real story’ behind the series when he starts publicising Hell Town, mainly because there’s so much fun to be had there.)

Jake Jackson supplied the excellent special effects make-up for the various kills. This is his second film gig following a thriller called Erasure; he has also worked on stage productions of Shrek, Young Frankenstein and The Tempest. Nancy Cox provided the regular hair and make-up.

Several of the supporting cast were also in Occupying Ed and The Far Flung Star. Michael Page, Connor Lloyd Crews and Chris Pudlo all receive ‘additional writing’ credits. Cinematographer Daniel G Stephens, who has previously worked with both directors, credited here with ‘special photographic effects’, lights every scene with a TV sensibility that doesn’t detract from the movie experience. And an extra special treat for long-time Balderfans is the return to the fold of the legend that is Betty O, for the first time since Stuck!, here appearing as a TV news reporter.

Hell Town is a hoot to watch and gives every impression of having been a hoot to make, which I think is characteristic of Steve’s films in this  part of his career. It’s not quite up there with the wonderful Occupying Ed, partly because the soap opera conceit necessarily robs the film of a layer of sincerity. On the other hand, I much preferred it to Steve’s two lightweight international capers The Far Flung Star and Culture Shock. It’s a real treat to see Steve working within the horror genre and bringing that unique Wamego touch to the tired tropes and corny clichés that we all know and love.

MJS rating: A-

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On April 23, 2015, The Austin Horror Society will present the world premiere of HELL TOWN in Austin Texas at the Alamo Drafthouse.  For details visit the website: www.DIKENGA.com

RECYCLING CRITICS by Jim Meskimen

Many moons ago I read this great article written by an actor friend from Los Angeles, and posted it to my website.  I rediscovered it recently, and would like to share.  Enjoy!

RECYCLING CRITICS
by Jim Meskimen

I’m not much of a fan of critics, especially these days when there are such an abundance of them on the payrolls of every newspaper, e-zine, cable TV show, news program and magazine. I think when professional critics start to outnumber working artists, something is terribly wrong. Even one critic to ten artists is a bit uneven. Critics will disagree with me, but to listen to some of them, one artist per field of art would be ample.

It’s not the individual critics I hate, mind you, it’s the whole impulse. I even hate it in me, and consider it one of my projects to evaporate any desire towards criticism of other well-intentioned people that I can detect in myself. It’s just not a handsome attribute.

So here’s my idea, and I’m almost serious about it, too. Today we have recourse to digital tools that have revolutionized the arts. You can paint, compose music, edit films, design buildings, all on your laptop while chewing a Krispy Kreme donut, if you choose. Basically, there is no excuse anymore for anyone who claims to be interested in the arts to not be very productive. It’s just too easy.

So we as a society should demand that anyone who wants to call themselves a professional critic, should make available on a website for all the world to see, an example of their efforts in the very field they intend to be an authority on. Music critics- let’s hear your songs and symphonies. Theatre critics- where is the play you wrote on the subway to Times Square? Art critics- let’s see the images you made on your laptop in Soho. Film critics – you hordes of imitation butter-flavor fingered typists, tell us where to view your short film please. We’ll patiently wait for the download.

This will make honest men and women out of the few really devoted critics who take on the challenge, and it will thin the herd considerably. With every critic activated as a productive artist, we will have more works to view and listen to, and less carping and complaining. Many will probably quit of their own accord, since artistic creation is so much more rewarding than casual, random destruction.

The real dividend for the culture will be the conversion of critics into artists. We always need more of the one, and seldom have a hunger for the other.

WHEN CAN WE SEE IT

The production of a motion picture is complex. The release of a motion picture may be even moreso! We’ve received numerous emails asking questions like: “Will the movie be in theatres?” “When can we buy the DVD?” “Will it show in my town (or country)?” and the most often-asked, “When will it be on Netflix?” And these emails have come from Europe, Australia, Africa, South America, North America, Asia. Everywhere!

The motion picture industry has as many layers and middle men as any other. Perhaps more. Regardless, these people and organizations are a part of the distribution of a film. Each of them represents a tiny segment of the distribution of a film. So unless a film is allied with one of the really large distributors (and we know who they are!) there are a great many hoops to jump through, and people to work with, to begin the process of getting a film on the big screen, iTunes, Amazon, Hulu or Netflix.

Most of us are familiar with the blockbusters that open on 3,000+ screens on the same weekend. By the end of several months, the films have shown in every country of the world and the Netflix debut is eagerly awaited. In between those two platforms the films appear on airplanes, make a buck on an archaic DVD release, then cable channels and satellite feeds. These are all unique channels of distribution. Unfortunately, the world of independent cinema doesn’t follow such an all-encompassing path, unless, of course, you are Angelina Jolie with your directorial debut.

In traditional (read: archaic) sequential order, the distribution of a film might follow these steps: 1) theatrical release, 2) pay-TV release, i.e. cable and satellite, 2) travel networks such as airplanes and cruise ships, 3) commercial television, 4) DVD, then 5) Online streaming such as Netflix or Hulu. This can happen in each and every country in the world, either simultaneously (like that seen by the blockbusters) or one at a time over the course of a number of years. Naturally, the commercial goals of any filmmaker might likely include widespread release.

In addition to being a great art form, filmmaking is also a business. Most of us have never stopped to consider exactly how a movie is released and all the possible ways that it can happen. I know I didn’t. Furthermore, I never stopped to think about how it might not even be the same exact film in each different country. Oh, it will be mostly the same, but poster art changes, sometimes the title of the film is changed and there may well be editing within the film, depending upon customs and standards in a given country.

My first film, PEP SQUAD, was a satire on American school violence. The script was written in 1995 – long before any of the school violence had occurred – and actually predicted what was to come. We were in negotiations with a major distributor to release the film the very day that Columbine erupted onto the nation’s conscious. The company called us immediately and said, “Sorry, we can’t touch this now with a ten-foot pole.” All of a sudden, poking fun at the American culture and confronting the causes of school violence – the causes that no one wants to talk about such as parents, bullies, and the society at large – wasn’t commercially viable, especially in a comedy! PEP SQUAD had a message that the “society at large” didn’t want to hear.

What followed was interesting. All of the domestic distributors were afraid to put PEP SQUAD out there. Some made their own watered-down versions. But the international marketplace was hungry for the film, especially one that detailed and gave insight to what was happening in the US. PEP SQUAD was released theatrically in a number of countries and still continues to show in places such as France and Germany. It has appeared twice on French satellite television, and 7 years after its production in 1997 it was released in Germany.  In 2011 when the rights came back to me, I gifted them to Lloyd Kaufman (Troma) as a Christmas gift.  And today, 18 years after it’s initial debut, PEP SQUAD is still being released globally.

But in North America it sat on the shelf. Finally, when enough time seemed to have lapsed after Columbine, PEP SQUAD was released direct to video after several small theatrical engagements in Los Angeles and other cities. Alas, it was marketed as a horror film, even though it was obviously a comedy. Why? Because the distributor believed that its commercial viability was still threatened if taken as comedic commentary on the social problem of school violence. While I disagree with this approach, I do understand how they came to that conclusion. As we all know, art is often defined and categorized because of the culture that surrounds it. In society after society around the world, PEP SQUAD is seen as a hilarious commentary on the absurdity of America, but in America it can only be tolerated if it is an otherworldly horror film.

Explaining the business of distribution is complicated and difficult. To summarize, a film can be released theatrically in New York, but not Los Angeles; in Ohio but not Florida. Films can be seen on airplanes; on cable; on Netflx; on DVD; in classrooms; at colleges; in small fine arts theatres; on the internet; throughout many continents – but not necessarily every country; and even if seen in every way possible, films may not be shown in all of those venues all at once. The average lifespan of a film is around ten years, but just turn on the television and films from 20 and 30 years ago are routinely showing. Even though you’ve seen a film in the theatre, or watched it on DVD, it might be many years before it’s available on Netflix. Just recently TWIN PEAKS hit Netflix, 20 years after it first aired.

Distribution is probably the single most misunderstood aspect of the movie business. HELL TOWN will be unveiled soon.  The Austin Horror Society is presenting the world premiere in Austin, Texas on April 23 (at the Alamo Lakeline).  Then, in May it screens at a film festival in Charleston, SC.  Currently being scheduled are screenings in Chicago and other places.  We have all the information available on www.DIKENGA.com so check the website for updates. Remember, even after HELL TOWN is released in theatres and at film festivals, there will still be dozens of opportunities for you to see it. Anyplace. In any form.