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GOING OVER THE UNDERTOW: An Interview With Jeremy Wallace PDF Print E-mail
Written by By Lindy Rimshas   
Jan 20, 2005 at 02:00 AM
Just released to DVD is the Sub Rosa Extreme shocker THE UNDERTOW, written and directed by Jeremy Wallace. THE UNDERTOW is a mean-spirited fun house of terror and gore, taking it's cues from gritty indie horror of the 1970's and 80's (especially those glorious slasher films).

Jeremy Wallace is an established indie film producer with an impressive collection of titles to his credit. For Wicked Pixel Cinema, he was a producer on SAVAGE HARVEST, ICE FROM THE SUN, SCRAPBOOK, the short film collection THE SEVERED HEAD NETWORK, and Eric Stanze's hauntingly erotic music video FAITH IN NOTHING (available on THE SEVERED HEAD NETWORK DVD).

For Sub Rosa Extreme, Wallace produced I SPIT ON YOUR CORPSE - I PISS ON YOUR GRAVE as well as the eagerly anticipated CHINA WHITE SERPENTINE (due out on DVD in 2004). Wallace directed the slasher-comedy THE CHRISTMAS SEASON MASSACRE. His latest movie is THE UNDERTOW, which is already gathering enthusiastic reviews from the horror media arena. Here is what Jeremy Wallace has to say about his impressive contributions to independent cinema...

Q: How was your sophomore movie THE UNDERTOW different from the making of your first, THE CHRISTMAS SEASON MASSACRE?

JW: THE CHRISTMAS SEASON MASSACRE was my first attempt at directing. It proved to be a great learning experience. I was completely lost most of the time I was directing CHRISTMAS. Luckily I had people like Jason Christ and Eric Stanze on set most of the time to help me out. Also, I co-wrote CHRISTMAS with Stanze, which was the first time we had teamed up on such an endeavor. I really enjoyed writing with Stanze and hope to do it again in the future.

With taking on THE UNDERTOW as my next movie, I was supposed take everything I learned about directing and apply it to my directing of THE UNDERTOW. For the most part, I was able to apply what I learned. But I quickly found out that this directing thing is fucking difficult! There were times on the set of THE UNDERTOW that I felt like I was drowning with no hope for escape. Once again I was fortunate enough to have surrounded myself with an outstanding cast and crew. Every single person on the cast and crew of THE UNDERTOW had a hand in making THE UNDERTOW what it is. I like to say that THE UNDERTOW was directed by all of us, not just me. This may sound strange, but it is very true.

As far as how the movies themselves differ from each other... THE CHRISTMAS SEASON MASSACRE is a GOREMEDY (gory comedy). It is filled with cornball characters, jokes, and over-the-top gore. CHRISTMAS never tries to take itself seriously.

THE UNDERTOW, on the other hand, is a straightforward, mean spirited movie.
It takes the typical slasher formula and runs with it. The violence is brutal and once the violence begins, the viewers are not given a break from the onslaught.

Q: What was the inspiration for THE UNDERTOW?

JW: As a child I went on many canoe trips with my family. The rivers we floated were always surrounded by beautiful scenery and they were always located in a small town where everyone knew everyone else. I always knew that scenario would make a good horror movie. I knew I wanted the camera to capture the essence and beauty of the small town and its surroundings. I knew I wanted the killer in the movie to kill with his bare hands and never use weapons of any kind. I also wanted to create a situation to where the audience starts to have feelings for the killer. I wanted to show how an innocent child could be trained into a ruthless maniac.

Q: THE UNDERTOW had some pretty remote locations. How did you find and secure them ?

My great producer, Chris Belt is actually from the real town of Old Mines. He always told me stories of these very cool looking locations. So when we started pre-production on THE UNDERTOW, I asked him to take me and Stanze to these places. Needless to say we were amazed! And securing them was not a problem because Chris Belt knew all the property owners. Like I said, everyone knows everyone in those small towns.

Q: How is directing different from your usual producer experiences?

Directing is a lot of preparation before you set foot on set. And once you are on set, there is a ton of pressure. Every single person in the cast and crew are looking at you for the answers. Directing is a tough job. Directing is a scary job. But directing is also very rewarding. Being able to realize your vision by putting it on screen is a wonderful feeling. But the trick is to flank yourself with professional and artistic people. Listening to cast or crew members' ideas can make a movie better.

Producing is a different animal. All of the pressure that comes with producing happens mostly in pre-production. Securing locations, special props, crew, and things of that nature is all very stressful. A lot of the time, a producer has to make a contact for a location with a total stranger and then keep in contact with that person for months and sometimes up to a year. Pressure is also evident (when producing) within the first few moments of shooting on a location. I personally find myself looking at all the props and people on set to make sure all the ducks are in a row. If I fail to make sure that one person or prop makes the shoot, then most likely the whole day of shooting is ruined and I have wasted everyone else's time. That my friend, IS pressure!

Q: Which is more rewarding for you? Directing or producing ?

I feel a lot more comfortable in the producing role. I have more experience with producing. I like to be organized and on top of all aspects, all elements, that put a movie on screen. I seem to do pretty well at producing. But every new movie brings a new challenge that I had yet to encounter. So that makes producing very rewarding. Nothing beats the feeling you have after working your ass off all through pre-production and production and then seeing the final product. It is the greatest feeling in the world.

I am still very green when it comes to directing. I have learned a lot but I know that there is tons more I have to learn to consider myself even adequate at the directing job. I am good at knowing what I want, but bad at relaying those ideas while on set.

In the future I think I would love to take on another project as a director. But next time I want to rely on myself for everything. I want to write the script myself, shoot the entire project, and edit the project. I can guarantee this: if I were to do all of that all by myself, the movie would be notched below my other directorial efforts simply because I would not fall back on Eric Stanze, Jason Christ, and other talented people. The reason I would want to do this myself is to learn as much about the process as possible. That for me would be the ultimate challenge. Bring it on!

Q: What's the craziest thing that's ever happened on a shoot that you've been on?

Oh man. I have so many memories of crazy things happening while on set. It would be hard to narrow it down to just one but I will try.

I would have to say it was while we were shooting ICE FROM THE SUN in a tiny little town about 2 hours south of St. Louis. We were shooting in an abandoned school when the locals caught wind of what we were doing in the school. The local inbred redneck hillbilly teenagers of the town started throwing rocks through the windows of the school. We were inside shooting while dodging rocks and raining broken glass. I grabbed a baseball bat from my vehicle and stood outside, scaring off the inbred idiots while Eric kept shooting inside. It was a trip!

Q: What's it like to work with Eric Stanze ?

I have never in my life met a person that was more self driven and focused than Eric Stanze. The way he conducts himself on set is professional and inspiring. Knowing that Eric has passed on countless good paying job opportunities to continue to make the movies he wants to make (and at the same time place himself in poverty), inspires everyone around him to work to achieve the same goals. He is the same person on set as he is off set, and that to me is a very high compliment. Eric's passion has rubbed off on his crew (including me). And that guarantees Wicked Pixel Cinema will continue to make movies until we all die. Deal with it!

Q: How long have you been with Wicked Pixel Cinema? Describe the progression of your involvement with Wicked Pixel Cinema.

I have been with Wicked Pixel Cinema since ICE FROM THE SUN, which was the beginning of Wicked Pixel Cinema. But I had been working with Eric Stanze since 1989. We did not form Wicked Pixel Cinema until the production of ICE FROM THE SUN.

I started out acting in some early works, but quickly realized that I suck at acting and was better in a producer role. I have performed duties ranging from grip to actor to associate producer to producer and everything in between.

Q: Describe the unique style of CHINA WHITE SERPENTINE.

The style of CHINA WHITE SERPENTINE is that of a mind fuck. The shots and editing seem to mirror the style of the early drug trip movies. Imaginative editing, experimental shots, and very cool lighting make CHINA WHITE SERPENTINE an extreme joy to watch.

Q: How did the production of CHINA WHITE SERPENTINE differ from other features you've produced?

Because of the quick, scaled-back manner in which CHINA WHITE had to be produced, there was very little as far as producer duties were concerned. Mainly it was finding and securing locations. The locations that were used were locations that we had used on past projects, so securing them was quite easy.

Q: CHINA WHITE SERPENTINE is a very chaotic and visually energetic movie. How did you, Chris Belt, Robin Garrels, and Eric Stanze achieve such a complex and visually layered movie on such a low budget and with such a short shooting schedule?

We were all on the same page as far as what the feel and look of the movie was to be. That made things a lot easier on all of us. Most of the visual style and chaotic tone of the movie is from Stanze and Garrels. The main ideas in this movie came from their warped imagination. Chris Belt and I just tried to help them realize their vision by getting all the elements they needed.

Q: What's next for Jeremy Wallace?

I am acting as producer for the next big Wicked Pixel Cinema movie. We are all really excited about this project. It is something we have never tried to do before... and we all love challenges.

Also, like I said before, I would like to challenge myself to write, shoot, and edit a movie all myself. The mere thought of that makes me both nervous and excited. But that project is WAY down the line. All of my focus and energy is with this new, upcoming Wicked Pixel Cinema project.

Check out www.wickedpixel.com
***

The Sub Rosa Studios DVD release of THE UNDERTOW is "currently" available. Bonus features include deleted scenes, a blooper reel, a behind-the-scenes stills gallery, preview trailers, and hidden Easter Eggs!

"...brutal violence and gore... THE UNDERTOW more than delivers. If you're a fan of backwoods horror, then you won't want to miss THE UNDERTOW."
- DVD Authority

"Fast paced and exciting."
- DVD Maniacs

"...moody and effective... writer/director Jeremy Wallace and cinematographer/editor Eric Stanze distinguish THE UNDERTOW by design, crafting a stripped-down, serious shocker, never cluttering itself with pseudo-hip references or attempts at parody."
- DVD Drive-In

"With virtually no budget to speak of, THE UNDERTOW recaptures the essence of the classic seventies horror film ...something Rob Zombie couldn't do with several million dollars."
- Horrorview.com
"A wonderfully crafted homage to the sleazy 70's horror/exploitation flicks of yesteryear. Highly recommended."
- Monsters At Play

(Be on the lookout for CHINA WHITE SERPENTINE from Jeremy Wallace, Eric Stanze, and Robin Garrels... slated to hit DVD in the near future!)

User Comments

Comment by Efe on 2015-10-22 21:34:01
The blacks were betetr off under jim crow. They were compelled to behave in a normal and civilized way. They had their own neighborhoods where rich blacks,middle-class blacks,and the poor blacks lived together. The rich and the middle class blacks kept their criminals in check ( to a large degree). That's why jim crow had to be destroyed.Under jim crow, they were compelled to be disciplined. In the discipline, their race produced some classy people. Ella Fitzgerald. Louis Armstromg. Lena Horne, and others who were very good ambassadors for their race, and for the US as a whole. They were loved all over the world, and not for politically correct reasons. The love and respect was real.Jim Crow had to go because it brought to much stability to the blacks. The jew commies wanted the blacks somewhat scattered. Rich blacks separate from the middle class and poor. Middle class separate from the rich and the poor. The poor separate from the rich and the middle class.The commies wanted the poor blacks separate from the rest of the blacks. The commies didn't want the poor blacks to be controlled and disciplined by their own kind.The jews wanted the poor blacks undisciplined and feral so the commies could use these street blacks as an army against us. I think the jews are still holding a grudge because their precious slavery was outlawed.They wanted their slaves back. That was the purpose of the jews starting the NAACP. To get their ertswhile slaves back under their control.The books now lie about jim crow. There was always a substantial black middle class under jim crow. And there were wealthy blacks as well. 50 years after the civil war ended, there were black millionaires even!How the jews lies. That's all they're about. Hatred. Lies. Violence.Upheavel.I blame the jews alot more than I blame the blacks. They were/are being greatly used by the jews. And the jews did everything they could to destroy the black race in America.In the destruction caused by the commies, the african blood of the american negro is coming to the fore. It's exactly what the jew troublemakers wanted. That was the goal.This is not meant to condone or excuse criminal behavior. The blacks are now riled up and their african blood is coming to the fore ( real fast and furious), as was the communist plan.Please take steps to protect yourself and your family from any possible escalation in racial tension.The black panthers Declared War against white America in Sanford. No one in authority had anything to say about that > That means GREEN LIGHT!The panthers have chapters in every urban area, and probably alot of suburban areas.The panthers have been back stage from the 70 s. They are well armed with weaponry and ammunition. Many have military experience. They have been training in miltary tactics while backstage since the 70 s.The upcoming election will be about race to a large degree. Tension will be great. The communist left will use the panthers if they see fit. The panthers are waiting for orders.Please prepare. Not in a scared way. Just a normal, level-headed way that recognizes the situation in the country.Go to black radical websites and communist websites and find out the real hatred they have for you and their goal, and their plan. It's always good to know as much about your enemy as you can > So you can betetr protect yourself and your family.

Comment by SaMet on 2015-10-23 04:44:10
it's done with that.Whites left these cities, and still do back in rietaly because the factories in which they punched clocks shut down. Pittsburgh, Buffalo, and so on the rust belt. They are going wherever there is development (meaning creating the new south of corporate corridors, often for pharm companies and strip malls for their HIGHLY DEPENDENCY way of life that they DEVELOPED in their factories where the company does it all for the company man .)All whites in industrialized cities did was pack and bag and TRY TO FOLLOW the money where it went. This is hardly creating one's own rietaly. This is a sign of the dependency that came into (or came from Europe) with these particular whites, who reference euorpean feudalism and fascism (little f). They were deeply socialized under the punch clock, pension, public park, dime-movie entertainment way of life. Muscle for the big money (which makes them a good back-and-forth from the military to the factory following orders, showing up, punching the clock, not asking questions, doing what the big boss desires, being pleasing etc.) Really, all this may just be how old European Feudalism translated into the American situation (feudalist subjects being the same kind of human subject as factories could easily use) Very top-down, corporate, hierarchy, doing as told, not thinking, punching clocks fascist with a little f . The dream for them seems often to be a landlord, or small shopkeeper which produces the illusion of new money on markup which is not CREATING wealth (in the sense of sound money but only marking up charging more to step on it) Although there is reference, in factory life, to creating a product (Santorum and Romney channel this and speak to the de-industrialized populations). In the New South, many of the de-industrialized feel very misunderstood by southerners. But they do not understand that the Southerner is not being de-industrialized. They were de-colonized, which is something different. This is a different identity, different kind of person, who thinks differently about things. (Although both are disenfranchised and have this in common).Anyway the de-industrialized people were one up on the blacks, in that they FOLLOWED the big money (to developmental regions s/a the new south sort of the way Peace Corp workers, or military, do). Obviously, the whole population cannot do what Federalization makes seem reasonable (that when Central Planners target a place for development the whole country has to try to go there. Truly nuts.

Comment by Nathanael on 2015-10-24 18:53:48
The black race, for all their faults, didn't open our bdeorrs, start massive immigration, dismantle American industry and ship it en masse to China; The black race didn't pass a million laws and regulations in Washington ruining the auto industry and the steel industry, and other industries in America.The blacks are not the ones who flooded this country with herion and cocaine( the jew international mob did/does).The black race did not take us off the gold standard and hand us fiat money. The black race does not get us involved in foreign wars for the benefit of israel. The black race does not sell our military secrets to china and other countries.The black race didn't set up our bank/corporate monopoly economy. The black race didn't pass the Federal Reserve Act in 1913,handing all the power over to jew talmudic bankers.The black race didn't come up with 501c tax break for the churches. 501c tax break for the churches, but only if the churches tow the government line,which the churches lovingly and willingly do to get that tax break, even if the government line is jew/talmudic to the core,which it is. The blacks are not putting a gun to the head of the church leaders and forcing them to sell out.The black race didn't force the white race to engage in two incredibly destructive wars in the 20th century. Between both wars, about 70 million whites died. Many before they ever reproduced. An eternal loss for our race. The blacks didn't do this. We do it to ourselves. Europe was left in ruins after the war, Her spirit greatly broken.We, members of the white race, have alot of soul searching to do if we are to save ourselves and our race. http://nonmxzvnsot.com [url=http://wrqdpstzwk.com]wrqdpstzwk[/url] [link=http://xxqodcc.com]xxqodcc[/link]

Comment by Dorcia on 2015-10-26 06:54:32
The white race didn't want to go to Mars.The white race wanted to dtrseoy Europe and kill one another down in the the 10 s of millions. 20 years after WW2, the white race still didn't want to go Mars. The white race wanted to get divorced in droves, abandon their children and the children wanted to abandon their elders, take drugs, be promiscuous, flush their heritage and faith and culture down the toilet, get abortions (1973), more promiscuousity, even more drugs and even more of do your own thing.I know my white race wanted to go to Mars because our industry was shipped to China en masse and there was no collective outcry about it, not really. My white race was still too busy doin' it's own thing.One should do one's best to protect oneself from black street criminals, but blaming them solely for the destruction of Detroit, or the USA as a whole , doesn't cut-the-cake:It's a false premise. You can't ever build anything worthwhile on a false premise.

Comment by Jesus on 2015-10-27 22:09:37
Blacks shot down one another on the stteers every day and night, but at least they have the brains to have alot of babies to make up for it.When my fellow whites go to war with one another, we shot down one another in the millions ( about 70 million dead whites in WW1 and WW2), and we don't have the collective brains,or sense, to reproduce to make up for the loss, a loss we inflicted on ourselves.This is no time for whites to get smug and feel superior. We should be examing our faults with the goal of improving ourselves and making our race stronger and more united.The world is now arrayed against the white race. We need, individually and collectively, to do some deep soul searching so we can get ourselves out of this mess. Smugness is not going to help us. http://rxzlbaljszo.com [url=http://ptvzmyxth.com]ptvzmyxth[/url] [link=http://eivgjcbev.com]eivgjcbev[/link]
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