Wednesday, December 4, 2013

Interview with Jeremy Jantz, Part One

Last night, I posted about the upcoming Salon De Refuse Film Festival at The Academy Theater on Thursday, December 12, at 10 pm.  The festival organizer, Jeremy Jantz, started the festival after being informed his short horror film, Heels, would not be shown during The Art Institute of Portland senior project screening without some editing, as determined by the school.

Back in September of this year, a couple months before The Art Institute demanded cuts in his senior project, I sat down with Jantz to talk about Heels and his desire to make an adult horror film.

The Shadow Over Portland:  I’m talking with Jeremy Jantz, a film student at The Art Institute of Portland.  You’re working on your final project, a horror film called Heels.  Can you tell about it?

Jeremy Jantz:  It’s a short film, about twelve minutes long.  It’s a horror piece based on a short story by Stoker award winning author Lucy Taylor.  Basically, it would fall into the rape/revenge genre, but with a certain amount of twists to it.  And it definitely doesn’t shy away from the nudity or the gore or the subject matter.

TSOP: When we were talking about your film via email, you were saying it was going to be an NC-17 horror film.  What’s the reception from the school to that?

JJ: Well, the instructor, Kyle Aldrich, who initially approved the script and got me started working on it, ironically, he’s trying to sell it to a couple of the other instructors, but then there is a change in faculty.  He’s the head of the department now, so he’s already approved my script.  I’ve already started work on it, they don’t have a whole lot of choice.  At the end of the day, I’m the kind of guy that’s going to make the movie anyway.  It’s my four to five thousand dollars, it’s not theirs.  And, as far as I’m concerned, the worse they can do is not show it in their senior film screening.  If that’s the case, I would rent out The Hollywood Theatre and show it myself anyway.  And they know that.  So, they are in a kind of an awkward position, because if it turns out really good, and they don’t support it, then what do they do?  And the Art Institute, if they want to compete with some of the bigger schools, this isn’t the type of script that would cause a lot of eye blinking in NYU or California.  So, if you want to play with the big boys, you need to be prepared to accept the kind of adult films that they make at big boy schools.  Anybody can make the sort of Tosh 2.0 crap and throw it on YouTube and say this is my senior film.  I really wanted to say, look, we can make adult films.  I’m 37, I’m a bit older than some of the other students there, and this is what I wanted to do.  I’m making the film I wanted to see.  Hopefully, other people will want to see it too.

TSOP:  When you’re talking adult film, are you talking violence, are you talking sexuality, are you talking content or are you talking all three?

JJ:  It’s definitely all three.  The ironic thing is, there’s not any conventional sex scenes in the film, at least not man/woman, man/man or woman/woman.  But there is full frontal nudity on the part of the male lead and the female lead, the female supporting actress gets topless, so basically all three people involved in the movie get fairly naked.  There is gore, there is… I don’t want to give away too much of the end of it, but it definitely goes gory.  I had an effects guy I hired, there were prosthetics that were cast, so you can expect to see that. 

And then, just in tone, it makes a fairly adult statement as far as the way human beings are.  When the story was originally written, the author was trying to make a commentary on how men tend to treat women as victims, and she wanted to say, you know what, sometimes we’re not the victim. 
So, you’re going to see something different, and it’s going to be very violent at the end. 

TSOP:  Let’s talk a little bit about you for a second.  What drew you to the horror genre?

JJ: You know, I’ve been watching horror films and reading horror books since I was little.  I was the child of a single mother and largely babysat by an aunt that was in her late teens.  Not necessarily big on the censoring.  So, on HBO at the time, you could see things like the original Friday the 13th, The Shining, Halloween, Halloween Two…  I actually grew up, four, five, six years old, watching these movies on TV at that age.  So, I guess it just really took root, and it’s been something I’ve been wanting to do ever since.

You don’t see a lot of horror senior films and, ever since the first films I’ve been making, I’ve been pushing it, going for the horror and this is my chance to finally make something I can be proud of. 

TSOP:  Now, you’re talking about going NC-17, which may be understandable for the subject matter.  But if you could film the story as a PG-13 film, would you do that?

JJ:  I would not have in this case, because everything I wrote is true to the original story.  And one of the things I promised Lucy Taylor was that I would be true to her story.  In fact, I used the phrase, “I wasn’t going to Lawnmower Man her,”  because I want her to be just as proud of this too.  The nudity and the violence, it’s what she wrote, and it’s what she intended.  It was published in a collection of stories dedicated to the splatterpunk genre, because the story’s from the early to mid 90s, and splatterpuck was really big back then.  So she wrote it without pulling punches, and to honor her, I have to film it without pulling punches. 

TSOP:  How did you get the rights to film this story?
JJ:  I started out by rereading lots and lots of short stories, looking for something that would strike a chord, something that was filmable.  And from there, I picked Heels, which was my first choice.  She (Taylor) has a way to contact her on her website, so I wrote her a pitch email and said, “Here’s who I am, here’s what I’d like to do.”  She got back to me and said no problem, you have to talk with my agent.  So I wrote her agent an email and within a month, I had the contract signed and I have festival rights for the story.  Not only did I get the rights, but Lucy’s been incredibly supportive.  She blogs about the film, she talks about it on her Facebook page, she likes the updates I put on (the film’s) Facebook page.  So, she’s been a real hands-on participant in bringing this vision to the screen.

TSOP: Do you plan to release your film in festivals around the nation, or around the world?

JJ:  Well, at least as far as Canada.  Canada is on the schedule.  I’m hoping to produce something that I can enter into festivals on an international level and have it be well received.

TSOP:  Who were your inspirations for wanting to be a director?  It doesn’t have to be a genre figure. 

JJ: If I’m going to go classical, I do love (Dario) Argento.  I think he filmed some fantastic stuff and there are some nods to Argento’s style in my film, like excessive blood and garish colors.  And it has a bit of a giallo feel to it.

Lately, I really love Adam Green’s stuff.  I know some people don’t respect the Hatchet series, but I really like it.  I don’t care, I have fun with it.  It can’t all be Kubrick and The Shining, which is a really fantastic film, but there is nothing wrong with just having fun.

And something like that was also guiding me with where I was going (with Heels).  There is definitely an homage to the 80s.  The film is not set in the 80s, but you don’t see any cell phones, you don’t see the cars.  A lot of the art direction and wardrobe choices, I went with an 80s feel.  And I was trying to do that in the same way I think Adam Green was trying to do with Hatchet.  He was saying, look here, those were some fun years, why can’t we just do that?

Ti West is great too, but it’s a different thing.  And I would say, as far as a directing style, it would be more Adam Green.

TSOP:  Any final points you want to mention about Heels? 

JJ:  It’s very practical effects driven, so if you’re the kind of person that wonders why all the stuff is CGI, I’ve got some practical effects for you. 

It’s not going to be a film for everybody, I know that.  But the people that would like it, I think are really going to like it.  There are some crew members I lost along the way, once they read the script.  Their families are going to be there that night, and they were like, “Nope, I can’t do it.”  I had one acting agency that refused to pass my casting call along, I had to cold call Sophia St. James, I had to go to her.  I was in talks with Ron Jeremy’s people for a while.  I couldn’t afford to fly his entourage out here.  So that’s been the journey this film has been, and when you see it, you might have a lot more questions and we can get together and talk about it then.

TSOP: Can you tell my readers a little about Sophia St. James?

JJ: She is an award winning, queer porn star.  She’s on the plus side…  Oh you put me on the spot with the porn star question.  I really needed someone who was sized, willing to do full frontal nudity and was comfortable with that without making it all about the body.  And Sophia St. James really promotes that.  She does burlesque, she does stage shows, a lot of talks and such.  She’s very community minded.  And she’s a horror fan.  She was naming movies at random when she got this role, a couple of normal ones, the 976-EVIL.  Who comes up with that off the top of their head?  It’s a cool movie, but who pops up with that?

TSOP:  One final question.  Favorite horror film?

JJ:  I’m going to go with The Shining.  It’s clich√©, but the thing is, it’s one film that so transcended the genre, it really is underrated.  I feel The Exorcist is overrated.  Maybe it’s because I wasn’t raised religiously, but I don’t find it very spooky.  But The Shining is just, wow.  It deserved an Oscar.

Check back at The Shadow Over Portland tomorrow, as Jeremy Jantz talks about The Art Institute of Portland's reaction to Heels, and more about The First Annual Salon De Refuse Film Festival.

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