Resurrected from the archives, here is the 1st ever interview conducted for the Pit, with the late horror film legend Herschell Gordon Lewis!
L.R.: You already had a quite prolific career in exploitation films before Blood Feast, so what persuaded you to begin making ‘Gore’ films?
H.G.L.: Then and now, independent film-makers who regard the genre as a business and not as a hobby have had to be alert to changing opportunities: Some opportunities open up as others close. I concluded that the only avenue in which a low-budget film could achieve attention and playing-time in theatres was a film which shocked the audience without violating existing laws on obscenity. The list was short, and the marvelous four-letter word G-O-R-E leaped out at me.
L.R: How difficult was it to finance films such as Blood Feast? What barriers did you encounter?
H.G.L.:No outsider would touch this product. My partner, Dave Friedman, and I each put up 25 percent; a theatre-owner put up 25 percent; and an individual who had partnered with that theatre owner in previous ventures put up 25 percent. Voila!
L.R: For many years it was impossible to see your most famous works (Blood Feast, 2000 Maniacs, etc) legally in the UK, what are your thoughts on this?
H.G.L: No outsider would touch this product. My partner, Dave Friedman, and I each put up 25 percent; a theatre-owner put up 25 percent; and an individual who had partnered with that theatre owner in previous ventures put up 25 percent. Voila!
L.R: How do you feel now that they are available to British film fans?
H.G.L: I’m delighted that the movies are available in the UK. Attending the “Dead by Dawn” Festival in Edinburgh was one of the most exhilarating experiences of my professional life.
L.R: What is, in your opinion, the defining moment of your film making career and why?
H.G.L: I’m still alive, so the defining moment may yet be to come; but last week, the “Flashback Weekend” Festival in Chicago presented me with its Lifetime Achievement Award. Unbelievable! And certainly a defining moment.
L.R: What persuaded you to re-enter the world of directing again after a break of almost 30 years?
H.G.L: For years so-called producers had called me, suggesting, “Let’s make ‘Blood Feast 2’.” I have been ready to go. Finally, one of those callers dealt in reality.
L.R What is the current state of Blood Feast 2 in regards to distribution, etc? Do you hope to gain a cinema release, or are you aiming for the home market?
H.G.L: Because we shot this film in 35mm color, I certainly anticipate some sort of theatrical release. Distribution isn’t in my hands; it’s in the hands of the producer, Jacky L. Morgan.
L.R: What are your views on the current Independant film scene, given that Troma Studios is the only true Indie distributor/producer in the market?
H.G.L: I regard Lloyd Kaufman as a good friend and admire his fortitude. I do agree that “independent film-maker” is a threatened species. One problem is that a plethora of features are being shot digitally, which has resulted in impossible product-clutter. Many, many completed films will go unreleased.
L.R: What would you most like to be remembered for?
H.G.L: Within the motion picture industry, I’d like to be remembered for introducing hyper-reality into horror films. “Blood Feast” was truly a watershed picture, and most film critics now recognise it as such.
L.R: What are your thoughts and opinions on the digital ‘revolution’ in the film industry?
H.G.L: I’ve commented on this to some extent already. The Digital Revolution has spawned an unholy band of would-be producers and directors, whose whole rationale is “Let’s make a movie.” The gap between the ability to aim a camera — whether video or film — and being able to entertain an outsider with the finished product is HUGE.
L.R: And finally, if you could re-make any one of your films, which would it be and why?
H.G.L: If I could re-make one film, it would be “The Wizard of Gore”. Every effect in that film could be handled twice as effectively today.
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