Pulp Features

There is no in between as far as Pedro Almodóvar is concerned. You either love him or hate him. In any case, his reputation for uncanny scenes, twisted humor and sexual situations that would have been unthinkable - let alone filmable - in Franco’s Spain (the dictator, not the director) have earmarked a career that is still going strong. Almodóvar’s work is strange and fascinating, sure to offend the purists and the moralists at every turn.

His films are not for the born-againers, so to speak.

One of Almodóvar’s earliest works was Matador, with Antonio Banderas as an aspiring matador, who faints at the sight of blood. His trainer, retired matador, Diego Montes (played with amazing arrogance by Nacho Martinez), has been forced from the bullring due to a goring and no longer able to kill bulls, he kills women. (One of the darkly humorous opening scenes shows Martinez masturbating in front of a TV screen. One expects him to be watching pornography until when the camera shifts to the screen and he is seen masturbating to murder scenes from horror films). The matador encounters a lady attorney, played by Asumpta Serna, who coincidentally, is a serial killer herself, killing bullfighters. The two of them meet, have sex, then kill each other, leaving Banderas and the matador’s lover, Eva Cobo, behind.

Several other films followed and continue to follow, all with a cast of strange or oddball characters. Banderas has since moved on for the bright lights and bigger paycheques offered by Hollywood and it is probably safe to say that many of his fans would surely hate these earlier, pre-macho man works in which he plays either a wimp or a bungling idiot. Tie Me Up, Tie Me Down, for example, has Banderas as a dim witted kidnapper in love with a drug addicted porno star, played by Victoria Abril. In the end, after all they go through together, they fall in love.

Almodóvar, who started out making silent, super 8mm short films as an amateur, has certainly come a long way, rising to the position of one of Europe’s most controversial and recognized directors. With his rise to stardom, his budgets have increased, where he has been able to work with more name actors and others. Ennio Morricone, for example, who provided music for Tie Me Up, Tie Me Down.

Others who have appeared in Almodóvar films as regulars or for one shot deals include Rosy De Palma, Concha Hidalgo, the late Paco Rabal (as a lust-driven film director in Tie Me Up, Tie Me Down), Nacho Martinez (who returned off of Matador, years later, to be in High Heels), Veronica Forque, Chus Lampreave and Julieta Serrano. He has also used famed… uh… “showgirl”, Bibi Anderson in various spots in his films.

Not everyone likes Almodóvar’s brand of dark humour. In fact, when Matador came out, many bullfighting fans – who were expecting something like Blood & Sand or The Sun Also Rises - were outright offended, failing to see that it was a comedy.

Regardless, one momentary and chilling scene stands out that no one missed. As the matador and his soon to be victim/suicide partner drive to a chalet where they will terminate their lives, he stops and buys flowers from a vendor. The vendor offers to read his palm, and then draws back in horror when the recipient’s destiny is revealed. The matador gives her a little grin, shrugs, and moves on, as if to say, “Yeah…you got it right…”

Not for everybody, but beloved by his growing legion of fans, Pedro Almodóvar will be someone to watch for a long time to come. With the formation of the Deseo production company to crank out his films, finances and distribution should no longer be the problem they once were, leaving him plenty of way to create, make people laugh and even, occasionally, offend.

Ted V. Mikels. Moviemaker extraordinaire (and he isn’t kidding). With over a hundred films under his belt and fans that span the globe, Mr. Mikels (Ted to me, don’t you forget it) is a jack-of-all-trades when it comes to the film business. Starting out 55 years ago, Ted had to learn as he went, and teach what he’d learned, in order to make the films he wanted, the way he wanted, though not necessarily with the funding he wanted. Because of a reluctance to conform and an original vision, Mr. Mikel’s movie making has been characterized by low budgets throughout his career. He seems to think this is an obstacle at times, but his fans may disagree. With horror films like Corpse Grinders and Astro Zombies to back up their claim, many people cite him as the largest influence on independent horror film making ever. Ted spoke to the Horror Post about his life as a filmmaker, (extraordinaire).

Heidi: You worked with Ed Wood on Orgy of the Dead, as the lighting director. What was that like? What was your opinion of the film, and of Ed Wood?

Ted: No body knew who he was. He was a non-entity on the set. At the risk of sounding self-important, I was the one who knew what to do, and I was teaching the cameraman. I did it as sort of a favor, to help them. I did the graveyard sequences, the werewolf sequences, the fog…I had some experience with these things.

Heidi: Some of your films, like Children shouldn’t play with dead things, and AstroZombies are more famous that others. What do you think of that? Are these films you are particularly proud of?

Ted: These are well-known films. But I look at it like this: Each movie is a series of compromises. These films were made with little or no money. I feel that they are never adequately representative of my work because of these limitations. Many times things fall short of my expectations. My favorite work, is of course, the next one I make. Corpse Grinders and AstroZombies are my most outstanding successes. Most people (who are horror or independent film fans) know these films. I get emails from people about movies I made 40 years ago, telling me how much they love Corpse Grinders! These films were made on a hope and a prayer.

Heidi: You just made sequels to Corpse Grinders and AstroZombies. What are they like?

Ted: Corpse Grinders II is sort of a retelling of the original story. However, it picks up where the original left off. The main characters are the nephews of the main characters of the original. As for AstroZombies, I may be doing part 3 and 4 as well, because of the high worldwide demand. It’s difficult to be an independent horror filmmaker, because you keep hoping that the money will come from somewhere. After 55 years, I have made more feature films than any man alive. I hoped that at this point the money would come out of the woodwork, but it doesn’t happen. So we have to wait for the funding to come from somewhere. Sometimes we use hamburger and sawdust! We just got to keep existing and keep creating credit cards.

Heidi: You’ve not only worn many different hats in filmmaking, but you’ve also made many different types of movies.

Ted: Yes. I have lived my whole life that way. I like to step aside from what everyone else is doing. When other people are making films about motorcycles, I’m making musicals. Most people who make low-budget films these days are making horror. There is such a proliferation of horror now!

Heidi: Does that mean you want to stop making horror?

Ted: I do want to move away from horror, but I keep getting contacted by these fans that want me to read their scripts, critique their film, give an opinion on what they’re doing. It’s not that I don’t want to do this; it’s just that I’m so busy. I have to write, shoot, edit, direct, do sound effects, on all my movies. When you’ve only got 30 people working on a project, you end up doing most of it yourself.

Heidi: You teach a filmmaking seminar. What’s that about?

Ted: People are amazed at what it takes to actually make a movie. Most people think that they’ll just use a camera in their home, and make a film. I put across the idea that they need to put together the film as a producer, create concepts, write the script, research, edit, use lighting techniques, use photography to make a viewable film, make sound effects, market the film…I teach them how to hold the reigns as a film maker.

Heidi: Which, of all those things, did you do the most of?

Ted: During my first 10 years of film making in Oregon, no one knew anything. There was no one up there who was knowledgeable about any of these things. For ten years I learned and started teaching others all I knew. When I went to Hollywood I was considered an expert, because Hollywood tends to have people who are specialized in one area: lighting or holding the slate, for instance. I could do it all. That kept me very busy.

That was my advantage. You are always obligated to teach, especially when making a lower budget film. For instance, an inexperienced sound person needs to know to listen for a hum in the cable, or training camera people. Sometimes, I would get so involved in teaching that I didn’t focus enough on the lighting, or the directing. Oh my. I live with whatever I get. I think about it and say, “Hey, why didn’t I stop and get that shot? “. The consequence is that I have ended up doing everything myself so that nothing is neglected. I try to keep my shoots limited to 4-5 hours. Independent shoots are thought of as having long 12-16 hour days…I don’t do that. 5 hours is workable and seems better. Besides, after 5 hours, people get hungry and I can’t afford to feed them! So I send them home. Buts sometimes, they have so much fun on the set it’s hard to get rid of them. Besides, anytime you get “on a roll” with filming, and you break, you never get that roll back. Maybe in Hollywood, on a tighter schedule, but not in the real work. I drive real hard and then quit after 5 hours.

Heidi: Do you like Horror films the best?

Ted: I am a moviemaker as opposed to a genre creator. I have made musicals, and action, (like the Doll Squad, which came out years before Charlie’s Angels), Blood Orgy of the She-Devils…and everyone has a different film they consider my best. People like different things. A month ago someone commented on an unreleased film I made in 1977 in Utah, called Alex Joseph and his Wives. They said that was my best. The point is, when anyone says they like a certain film of mine, I tell them that they are all my favorites.

Right now I’m working on a sequel to Blood Orgy of the She-Devils.

Heidi: What do you want to work on next?

Ted: Don’t know, but not the same thing. The life of an amoeba on Mars, maybe!

Heidi: Have you been influenced by anyone?

Ted: I don’t watch anybody’s films. I like to think I’m on my own. Copy me, fine, but I don’t copy others. No Time!

Heidi: What do you think about TV?

Ted: TV is too controlled. You’ve got to show up at a certain time! I’m not a conformist. I set my own hours; based on the weather, availability, and ingredients I need for a film, soccer games. Versatility is important to me. TV is too 9-5.

Heidi: How do you feel about being a Horror Icon?

Ted: Last week I was in Los Angeles, and they were showing my films in a special theater. I was told how many people I’d influenced in the independent horror genre, and it brought a tear to my eye…I didn’t know what to expect.

Ted’s philosophy of non-conformance, (particularly the part about not working from 9-5) is seriously endorsed by all the members of the management and practiced by many of the members as well.