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Waters here is captured at the height of his popularity with the mainstream hit Hairspray and the enterprising attitude of the ISFS makers shows; indeed, this is probably the most
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Waters here is captured at the height of his popularity with the mainstream hit Hairspray and the enterprising attitude of the ISFS makers shows; indeed, this is probably the most in-depth and complete episodes of ISFS. All living members of Waters' Wonderland actors are interviewed, including what is probably one of Divine's final interviews. Ross caught Divne at the Hairspray premiere and he seems overjoyed at all the success.
Most of his career highlights are touched on, From his early work with Multiple Maniacs and Female Trouble, Pink Flamingos (though Waters' attempts at a sequel are untouched) all the way to the more above-ground spectacles Polyester and Desperate Living. Waters' also mentions his brief career of teaching film making in prison, where he taught the inmates to express their anger in movies.
Jonathan Ross interviews Ray Dennis Steckler, one of the most formidble exploitation flick directors from the heyday of the genre. It was one of his bizarrely-named movies that
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Jonathan Ross interviews Ray Dennis Steckler, one of the most formidble exploitation flick directors from the heyday of the genre. It was one of his bizarrely-named movies that provided the basis for the title of this show, an early Jonathan Ross venture that is undeservedly almost forgotten. Steckler actually passed away on January 7th this year at the age of 70.
As well as interviewing the man himself, the show features clips from some of his more notorious movies, and interviews with other (mostly bonkers) figures on the exploitation scene.
This is the second episode of this amazing and quirky series, wherein Jonathan Ross profiles Herschell Gordon Lewis, the "Godfather of Gore", director of such classics as "Blood Feast"
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This is the second episode of this amazing and quirky series, wherein Jonathan Ross profiles Herschell Gordon Lewis, the "Godfather of Gore", director of such classics as "Blood Feast" "Color Me Blood Red" "The Gore Gore Girls" and "2000 Maniacs". Also featured are HG Lewis' producing partner and exploitation pioineer David F. Friedman, fan John Waters, and actor Bill Kerwin.
Looking uncomfortable in a cowboy outfit, a young Jonathan Ross continues this late 80s homage to the other side of movies by interviewing Ted V. Mikels, a B-movie filmmaker with
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Looking uncomfortable in a cowboy outfit, a young Jonathan Ross continues this late 80s homage to the other side of movies by interviewing Ted V. Mikels, a B-movie filmmaker with long-standing cult status. Filmed around Mikel's Nevada hideaway, the interview reveals him to be as mad as ever, while numerous movie clips demonstrate the eccentric and exploitative nature of his work.
Raimi is interviewed behind a wall of posters for Evil Dead 2 in this piece which offers a nice retropective of his pre-Darkman work (Ross casually mentions that Raimi currently has a
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Raimi is interviewed behind a wall of posters for Evil Dead 2 in this piece which offers a nice retropective of his pre-Darkman work (Ross casually mentions that Raimi currently has a few projects in development with Universal). Numerous clips from his early super-8 shorts are shown in addition to choice scenes from the super-8 Evil Dead promo Within The Woods, a film which Raimi presented to prospective investors as proof of his filmmaking abilities.
Also included is a visit to the set of Scott Spiegel's Night Crew (AKA Intruder) where Sam is seen playing a cameo role of a doomed butcher.
The production nightmares of Raimi's big-budget sophmore effort Crimewave are discussed and the film ends a short segment on Evil Dead 2 where Raimi seems unsure of whether Ash will re-appear in another film again.
Hollywood is an apt place to meet Russ Meyer for the first time, as Jonathan Ross found out in the fifth of this late 80s series devoted to cult cinema. Meyer is one of the few
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Hollywood is an apt place to meet Russ Meyer for the first time, as Jonathan Ross found out in the fifth of this late 80s series devoted to cult cinema. Meyer is one of the few exploitation flick directors to have gained some measure of mainstream, Hollywood acceptance, and Ross reveals an intelligent filmmaker who made surreal, inventive and often artful works - and then threw in an awful lot of huge-breasted women. Ross also meets some of the man's favourite muses, and talks to some surprising Meyer fans. Plenty of movie clips as usual.
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