Archive for Rob Zombie


Posted in Aliens, Interviews, Movies, Sci-Fi, Thriller with tags , , , , , , , , , , , , , , on February 21, 2013 by darklordbunnykins

Keri Russell in Dark Skies

The DLB recently spoke to Dark Skies producer Jason Blum about the alien abduction thriller about to hit theatres tomorrow. Blum is the name behind Blumhouse Productions, the production company behind low-budget horror successes like the first Paranormal Activity, Insidious, and Sinister. Amongst our topics: making scary movies on small budgets, working with director Scott Stewart (Priest, Legion), the next Paranormal Activity and Insidious films, as well as working with Rob Zombie on The Lords of Salem. Part 2 of our chat will be posted tomorrow.

How excited are you about the way Dark Skies turned out?

I’m really happy with it. It’s exactly the movie that Scott…Scott brought me the movie a year ago, pitched it at me, well not exactly but very close to what you saw. and I really like an emotional story, you know, character, emotional work and the family drama that is depicted in the movie and to have a family upset by this dark force and I’m really proud of the movie and I am really pleased at how it turned out. I wouldn’t be doing these calls if I felt differently, obviously.


And why did you want to make it?

I always look for the same things in the movies that we decide to do, which is, is there a great drama and is there a great story. I think unlike a lot of the other companies that make horror movies I really look at the story first and the scares second, and I actually think that makes the movies scarier. I think a lot of places say, well tell me the scares and then we’ll work the story out later, and I think that’s not super effective, and so that’s a long answer to your question, but Scott checked all the boxes with this movie. It’s exactly the kind of movie we’re looking for and I would continue to make. Obviously I don’t want to repeat ourselves, we want to excel. And I think the movie is very different than Sinister and Insidious but certainly just as scary.


Speaking of Scott, what is he really good at and why did you want to work with him?

I never met him before we started the movie so I could only look at his movies, and what I got from his movies relates to what I just said, is that I thought he was really good at directing actors, he’s gotten really good performances, and that’s what I was drawn to, and I think that he continued to get that. Both Josh [Hamilton] and Keri [Russell] have seen the finished film, they love it, they want to work again with Scott, and I don’t have to tell you this but that doesn’t happen too often. So that’s what I thought he was good at, and I’m not always right, but I was right about that and I was happy about it.


Speaking of Keri and Josh, why did you want to cast them, especially given that they don’t have backgrounds in horror films? Or is that an advantage?

To me that’s an advantage. I did theatre in New York but I was just starting out in my career. I had a company called Malaparte and Ethan Hart and Calista Flockheart and Steve Zahn and Robert Sean Leonard and Josh Hamilton, among a bunch of other people who were in the company and Ethan did Sinister and Ethan did a second film with me called The Purge and the casting of all of our movies, ultimately the directors have the final say, but I’ve encouraged them to cast actors who aren’t necessarily associated with horror. You can say that of Ethan, and you can certainly say that of Josh Hamilton and Keri, for that matter.


There are a lot of alien invasion films, a lot of alien abduction films, but to what extent do you think is Dark Skies scarier because it’s told on an intimate scale – it’s one family, as opposed to a more global invasion big-budget films like Battlefield Earth or Independence Day?

I don’t see this as an alien invasion movie at all. I know that may sound surprising after you saw it but an alien invasion movie implies exactly what you said, being a spectacle close-encounter, I see it as a family disrupted by a menacing force and to me, in Paranormal Activity you never see what the force is; in Sinister and Insidious you see it a bit more, but to me what the actual evil is, is much less interesting to me than what the evil causes. And that’s what I like about this movie, I don’t look at it like an alien invasion movie at all.

Josh Hamilton in Dark Skies

On that note though, how much discussion went into how much you would show the aliens and what they would look like, given that they are secondary as opposed to the effect upon the family itself?

Very little. I think less is more when you are showing evil forces, and again, I think the conversations were about who should be in the movie, who should play it, what problems they were facing and in all the films that our company works on, we don’t spend a lot of time thinking about the…we give a personality to the evil by not showing the evil. We can’t compete with the bigger movies on showing evil forces, we just…so I feel we get a lot more mileage out of not showing them and letting people imagine. Whatever you can imagine is way worse than whatever we have the ability to show, so I encourage filmmakers to let audiences imagine what’s bad as opposed to see it.


Dark Skies opens Feb. 22.





Posted in Devils, Ghosts, Interviews, Monsters, Supernatural, TV with tags , , , , , , , on February 14, 2012 by darklordbunnykins

The DLB recently sat down with Paranormal Activity director Oren Peli to discuss his TV show The River, amongst other things. This is part two of our discussion:


Have you had any problems with censors yet?

You always deal with the standards & practices, and you have to negotiate with them, how many times can you use a bleeped version of seven word, but it important for us to create a sense of realism so we wanted the characters to be able to curse as they naturally would just the way the intended so we would bleep it out.

And we never really meant to go for too much gore anyways, so that was never our intention so we didn’t experience too many problems with that.

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Posted in Devils, Fantasy, Ghosts, Interviews, Thriller, TV with tags , , , , , , , , , , , , on February 7, 2012 by darklordbunnykins

The Oren Peli-produced TV show The River, about a team of camera-equipped adventurers documenting their attempted rescue of a beloved nature show TV host (Bruce Greenwood), debuts tonight, and The DLB recently had the chance to talk to Peli (best known as the director of Paranoral Activity) about it:

What is your background as a horror fan?

I’m not specifically a horror fan. I like any good movie or TV show, so I do like some of the horror movies that are more like the slow burn ones, stuff like Rosemary’s Baby and The Others, Sixth Sense. Not so much the slasher horror movies. So that’s the kind of stuff I’m usually drawn to.

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Posted in Gore, Heavy Metal, Interviews, Music, News with tags , , , , , , on May 17, 2011 by darklordbunnykins

In Part 2 of my interview with Rob Zombie, Rob discusses working with FX wizard Wayne Toth on his upcoming film The Lords of Salem and the film’s origins.

You’ll be filming Lords of Salem soon, and Wayne Toth, who worked on both Halloween films and House of 1000 Corpses, is doing your FX on that show. Can we expect some sick practical effects work?

Yeah, Wayne’s already started working. There’s a lot of effects so there’s a very long lead time so he started way ahead of everybody else. Yeah, he’s come up with some crazy shit, man, I’ll tell you that much.

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Posted in Concerts, Devils, Gore, Halloween, Heavy Metal, Interviews, Movies, Music, News, Serial Killers, Violence with tags , , , , , , , , , , , , , , , , , , on May 13, 2011 by darklordbunnykins

The DLB recently spoke with multitasking mad man Rob Zombie about numerous subjects, including his upcoming summer tour, new drummer Ginger Fish, working with friend and comedian Tom Papa, and his next film, The Lords of Salem. Here is is updating us on the tour and Fish. Look for more Part 2 of our conversation soon.

You’re touring Europe soon and then North America with Slayer and Exodus. Is that the best way to spend the summer?

Well, I don’t know if it’s the best way, but it seems to be the only way. That’s the way every summer seems to pan out. Last summer I spent all summer touring with Korn on the Mayhem Tour so I guess it wouldn’t be a summer if I wasn’t losing some hearing.

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Posted in Devils, Ghosts, Interviews, Movies with tags , , , , , , , , , , , , on April 1, 2011 by darklordbunnykins

Insidious is out in theatres now so go support it or never complain again about the lack of original horror films. Got it? Good. Anyway…

Here is the final part of the DLB’s interview with filmmakers James Wan and Leigh Whannell. Here we discuss the film’s scary score, courtesy of Joseph Bishara (Repo! The Genetic Opera) and the involvement of their producers, including Paranormal Activity director Oren Peli.

How important is sound design and Joseph Bishara’s music to making Insidious as scary as it is?

James: Because Insidious is all about me hearkening back to my love of classic haunted house movies, very old school horror, old school ghost story here, and the best way to represent that is not just through the visuals, not just through the camera work and production design but the score is such an important part.

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Horror Celebrities to appear at “ROCK CON” FanFest July 30-August 1

Posted in Events, Festivals, Movies, Music, News with tags , , , , , , , , , , , , , , on June 3, 2010 by darklordbunnykins

William Finley as the Phantom of the Paradise



“Rock Con: Weekend Of 100 Rock Stars” Celebrity FanFest event comes to the Sheraton Meadowlands Hotel Conference Center in East Rutherford, NJ on Friday, Saturday and Sunday July 30th – August 1st weekend with theme reunions and guest appearances, including a roster of Rockin’ Horror Stars.

Already scheduled to appear are:

~Gerrit Graham played “Beef” in Brian DePalma’s rock horror musical film “Phantom of the Paradise.” He also composed with Bob Weir of The Grateful Dead.

~William Finley played Winslow Leech – “The Phantom” title character in the rock horror musical film “Phantom of the Paradise.”

~Jonathan Tiersten starred in the cult horror/slasher film “Sleepaway Camp.” His band Jonathan Tiersten & The Ten Tiers.

~Lezlie Deane “killed” Freddie Krueger in the film “Freddy’s Dead: The Final Nightmare.” She is lead singer in West Coast band Scary Cherry & The Bang Bangs.

~Demon Boy is a new recording artist influenced by Alice Cooper and Rob Zombie, and is the star of the upcoming Demon Boy comic book series.

~Eerie Von bassist for Danzig and Samhain, fits in this category for his “Fiend Art” paintings of monsters and horror themes.

~Bobby Steele guitarist for The Misfits and The Undead.

KISS fans will be please to see former KISS guitarist Bruce Kulick and Lydia Criss, ex-wife of Peter Criss, who wrote the book “Sealed With A KISS.”

Fans attending “ROCK CON” will be able to talk directly to, obtain signed autographs and meet some of their favorite rock and media personalities on common ground. The eventsis ghost-hosted by “Cryptmaster Chiller Chucky” of the National Horror Happenings newsletter.

Many very special music guests of honor are already confirmed, including current and former members of such rock bands as:  Suicidal Tendencies, The Hollies (2010 Rock HOF inductees), The Cars, The Animals (1994 Rock HOF Inductees), Porno for Pyros, The GoGos, The Archies, Vanilla Fudge, The Yardbirds (1992 Rock HOF Inductees), Jefferson Airplane/Starship, The Smithereens, Human Beinz, The Rascals (1997 Rock HOF Inductees), Nazz, Tuff Darts, The Stories, The Bay City Rollers, Spanky & Our Gang, Village People, Utopia & many others.

Other notable names include legendary rock & blues guitarist Johnny Winter, Dale Bozzio of Missing Persons, actress/singer/personality Rockabilly personality Robert Gordon, Dr. Demento favorite Tom T-Bone Stankus. Also, expect to see radio and TV music personalities like rock & roll TV DJ Clay Cole, the only host to have both The Beatles and The Rolling Stones on the same broadcast.

A complete list of all special guests appearing can be found at Tickets starting at $20 are now on sale online. For info, write or call 203-795-4737.

What: “ROCK CON:Weekend of 100 Rock Stars”

Where: Sheraton Meadowlands Hotel & Conference Center, East Rutherford, NJ (special ROCK CON convention rate only $109 before July 1)

When: Friday July 30th 2010: 6pm -11pm (optional 5pm V.I.P. Early-Bird admission available), Saturday July 31st 2010: 1pm-10pm (optional NOON V.I.P. Early-Bird admission available), Sunday August 1st 2010: 1pm – 9pm (optional NOON V.I.P. Early-Bird admission available)

Vendor Rooms and Guests Rooms close at 9pm Friday, 7pm on Saturday and Sunday


Posted in Interviews, Movies, Music with tags , , , , , , on March 3, 2010 by darklordbunnykins

The Dark Lord Bunnykins is caught up writing for corporate masters this week who are paying him lots of money so he’s finding less time to post all-original content this week.

But he knows you love him and check back daily for content (yes?) so he’s foregoing watching Rescue Ink this week (it’s a repeat anyway) to re-edit and post this interview with Rob Zombie who just recently announced a co-headlining tour with the original shock rocker Alice Cooper.

This interview was conducted around the release of his 2006 album Educated Horses.

In my experience, 9:30 a.m. is early to do interviews, especially for musicians. Have you always been a hard worker?

Yeah. People are always surprised at how early I get up. I usually get up at 6 a.m. and starting doing stuff. I’m always trying to accomplish so many things, and it ain’t going to get done if you’re asleep.

Given all the different projects your work on, you must be a great time manager.

I try to be. It gets difficult. The biggest problem I have is your brain gets a little fried. So I’ve tried to concentrate on one thing at a time. I sort of a balance a whole bunch of projects, but when I was making the movie, I only worried about the movie. When I was making the record, I only worried about the record, as opposed to before where I would try to juggle too many things at once. I feel that everything suffers a little bit because you’re never 100% there.

The tour launches soon. Are you excited to be back out on the road?

We’re excited. We start rehearsing this weekend so that’s when it really feels like it kicks in. So, yeah, it’s going to be a blast.

How did you enjoy headlining the second stage at Ozzfest last summer?

Well, that was the third time I did Ozzfest and that was the best time ever. It was the most fun. The other times we’ve done main stage, and, truthfully, main stage is a bit of a drag because of the way it’s set up. But second stage is a blast.

The main stage is seated and very uptight with the security, whereas second stage is just a free-for-all. The most enthusiastic kids move upfront and the ones who want to stand in the back stand in the back. Whereas when you’re on the main stage, the people in the front are just the people that happened to buy tickets in the front, whereas a lot of times the kids in the back are the ones that are going crazy. So the energy’s kind of off.

I understand that meeting your guitarist John 5 helped decide you on making music again.

It kind of came about that way in the sense that I was sort of burnt out after the last tour and the album. Everything was good, but, as always, somehow band relations tend to break down and things become a drag. Then I went off to make Devil’s Rejects, then that was such a great experience that I wasn’t looking to bring myself back into touring and dealing with all that shit again.

But then I met John, and he’s a great guy and we played a couple of one-off shows together, these sort of benefit shows, and one thing just led to another. And Blasko, who’s always remained a friend, said, ‘Oh, I met this great drummer. We used to play with Alice Cooper. He’s only 25 but he’s a great guy’. That was Tommy Clufetos . When we got together, it was so cool and excited and it was just so fun that it was sort of infectious and it kind of happened.

John 5 is a very accomplished musician obviously. How did his playing shape this album?

Just in the sense that he’s the best guitar player I’ve ever had the opportunity to work with by far. It’s nothing against anyone I’ve worked with in the past, but John is just incredible. It’s like someone saying ‘oh, here’s Eddie Van Halen, here’s Zakk Wylde’, you just go, ‘Wow, I’ve never worked with a guy that’s this good before’.

So that basically no matter what you can think of there’s no problem that John can’t play it or can’t complement it or can’t deal with it because he’s great at everything. There’s a lot of stuff on the record where I was like ‘well, I’d like to do something that’s like a sitar here, let’s do acoustic here’. He can play anything anytime anywhere, whereas a lot of guitar players can’t. They’re good at their thing, but if you want them to branch out into something else, they might not be so good at it, and John’s pretty much superior in every way.

Did his proficiency push you to play even better?

It just pushes everything. It’s not even his playing. It’s funny because he’s the nicest, most amazing guitar player I’ve ever met. A lot of times you’ll meet people who aren’t even half as good but they give an attitude. Everything’s just so easy. Making the record was just such a snap.

It was fun?

Fun? Totally. I can’t do it anymore if it’s not fun. I don’t need the money, I don’t need the aggravation, I don’t need anything. I only want to do it if it’s fun, and it’s fun.

When did you start writing the new album?

I started writing some of it before I met John, before I did Devil’s Rejects. And most of those songs got thrown out — there’s actually only two of them on the record — and the rest of it we wrote as soon as we got off Ozzfest starting in October.

Came together quickly. Really quickly. The only holdover songs, I think, were ‘Foxy Foxy’ and ‘Let It All Bleed Out’. The rest of the record, I believe, was more or less after starting in October.

Was it the fastest album you’ve ever made?

Fastest? Probably the least painful anyway. We usually work pretty fast. Having John around made things move really fast. It’s great when you work with musicians who really are one-take guys. Like, no matter how complicated the part, no matter what it is, he can play it perfect immediately. It’s not like ‘well, let me go work on it for awhile and I’ll come back’ or ‘let me do this and we’ll do a hundred takes’. So that just really speeds up the process when you really play with exceptional musicians.

How long did it take to make Educated Horses?

It’s become pretty quick. But back in the day, like with the White Zombie records, even the bigger ones, they were all done that fast. You would book this much studio time and at the end of that time, you’re supposed to be done. It’s not like this new thing where people just drag it out for years and years and it seems to go on forever.

On spontaneity:

Spontaneity plays a big part in the sense that we don’t want to overwork it. Even though the records, of course, sound very polished, at the same time, we sort of write and record at the same time. Most of the vocals that I do, I never lay down scratch vocals. Usually I go in there and just do it. More often than not the whole record is the first pass of the song. Sometimes I’ll go, ‘That sounds kind of weird, I want to re-sing that chorus differently or something’. But what has been the mistake in the past sometimes is to redo things so much and you go, ‘Shit, the rough mixes sounded really kick-ass, and now we’ve so overmixed it that we’ve mixed all the energy right out of the song’.

Same thing happens when you’re editing a movie sometimes. You’ll edit and you’ll have it at a pretty good place and it sort of seems like you’re done. You go, ‘Well, maybe we can tighten up this a little bit’, because you start getting paranoid… Because you’ve watched the movie so many times that you’re afraid someone else is going to watch it and get bored. So you have a tendency to keep editing and editing and faster and faster, and we made that mistake on Rejects. And then we went back and went like ‘shit, man, we cut out all this great stuff’ and we put it all back in the movie. It made the movie longer, but it somehow seemed shorter. But that’s the weird balance. That’s where it gets really tricky where you can spend forever and somehow screw it all up.

So you have to rely on your instincts.

That’s everything, really. That’s sort of my philosophy with life. Your gut reaction is almost always right. If you meet somebody and your first reaction is like ‘I don’t know, this guy seems like he’s full of shit’, he usually is. ‘Why is this guy being so nice to me?’ More often that not, your gut reaction is always right.

Any significance to the title? In other words, what’s an educated horse?

It’s an old circus term for one of the acts that they used to have, Educated Horses. And when I was growing up as a kid, my whole family was involved in carnivals and circuses, and it was an attraction that my grandfather used to run. And at some point when my mom was cleaning out the house and was moving from the east coast to the west coast and found these old pictures, and one of them I put on the record — it’s underneath the disc — of my grandfather in his circus get-up. Somehow that brought it back to mind, and I was like ‘what a bizarre phrase’. I worked it into some of the lyrics and I was like ‘well, maybe it’ll be a title, maybe it won’t. Kind of odd, I don’t know’. Something about it I liked.

Do you feel weighed down by your horror image?

Well, I don’t feel “weighed down” by it, I just don’t want to feel trapped by it. Even if the next movie is a horror movie, I want it to be a horror movie because that’s what I want to do, not because that’s what’s expected that I should do. Obviously there are the things that I love, but I don’t want to be trapped by it.

I think a lot of times bands especially get trapped by their own thing, and I feel bad for them sometimes. Because it seems like people stop paying attention. Like, they’re still popular but people go, ‘Well, I didn’t really listen to your last five records because I assumed it was the same as the last five records’. You either want people to either love it or hate it, but you never want people to go, ‘Yeah, that’s pretty much what I expected. Same old shit’.

So for this one I just wanted to just in general with everything just deconstruct. Sinister Urge, I thought that the band and the stage show and everything had just gotten so big and so out of control that I really wanted to do the exact opposite and get rid of everything. Because I felt like we couldn’t do anymore. What, this time we’re going to have ten robots on stage, ten dancing girls and a thousand fireworks? It just became so ridiculously over the top. It was fun and it was great at the time, but where do you go with it? You can’t just keep making it bigger. It would become retarded. So I thought, ‘Do the exact opposite. Strip it down to nothing’.

On House of 1000 Corpses:

That was a little different because by being the first thing you’re not really up and running on how your whole way of working anyway. But I definitely wanted to make a completely different movie, and I knew for that reason some people would be bummed that it was a different movie and some people would be thrilled that it was a different movie.

Really, at the end of the day, you can only do what you can do. You can’t create things on demand to please people. One thing I’ve learned over the years with the fans is that they all say the exact opposite thing from each other constantly. One person’s favourite song is the song the other person hates the most; someone’s favourite record is someone’s least favourite record; someone’s favourite movie is someone’s worst. That’s why I think the Internet sometimes makes people crazy because they go through messageboards and they read everything and all you can conclude is everyone has a different opinion. So it makes you nuts.

On doing what you want to do as an artist:

That’s all you can do. You really can’t do anything else. And when you start trying to do something else… Because I feel that when people are true to themselves when they’re making whatever they’re making, it’s usually good. You may not appreciate it at the moment. Maybe ten years later you go, ‘Wow, I didn’t get it at the time, but that film or that record is really good’.

But what usually is crap is when you can tell that something is being force-fed to you and pre-packaged and made for you. Like the studio goes, ‘Well, we know people like these kind of films or these kind of people so we’ll put it all together…’ The films that people still talk about are always those ones — not to sound like a jerk but I don’t think anyone’s going to be talking about the remake of When A Stranger Calls 30 years from now.

Whereas other films that kind of stirred people up and they’re arguing about, they still argue about. For me, I know there’s been records I got at the time: ‘Ah, I hate this record, it’s shit’. I go back now and go, ‘Jesus, this record is amazing’. But I just didn’t get it at the time; it just didn’t hit me right. I was thinking it was something else.

Rob Zombie on The Devil's Rejects set

Your last film, The Devil’s Rejects, really challenged the current crop of safe, boring horror exemplified by the likes of the When A Stranger Calls remake. Is it more difficult to make challenging music or film?

To me, the biggest challenge is… I don’t really try to “challenge” things — I’m not trying to “push boundaries” or challenge the way people see things necessarily. To me, the most challenging thing is to make something that’s entertaining and that works. That’s the biggest challenge.

Because at the bottom line, with movies and music and everything, it’s entertainment. Some of it’s highbrow, some of it’s lowbrow, some of it’s stupid, some of it’s intelligent, but it’s entertainment. And it has to work on that level first because I don’t think anyone watches a movie that’s not entertaining and goes, ‘Wow, what a great movie. I really learned a strong lesson. But I was completely bored’… It has to work on every level. And that’s really the trick. And if it works on other levels, too, that’s great. Like with a comedy, it’s great if there’s a message, but if I’m not laughin’, I’m not going to get to the fuckin’ message.

On the song ‘The Devil’s Rejects’:

On Halloween, we played a show with Judas Priest and we played the song ‘House of 1000 Corpses’, and whenever we play we usually have video screens which there are scenes playing from House of 1000 Corpses while we’re playing the song, and I was like, ‘This is so cool’. I just love that moment. I was like, I was still working on the record, I was like, ‘Man, I should do a Devil’s Rejects song’, I feel bad that I never did it, and that’s when I did it.

Has your approach to making music been perceptibly influenced by your film work or are the two separate activities in your own mind?

They’re very different, but the same in the sense that the creative process for everything is sort of the same. You’re sort of just sitting there with your own head and going like, ‘Okay, somehow a movie has to come out of my brain’. And somehow there’s no songs and songs suddenly have to exist. It’s sort of the same process of just working.

Over the years, one thing that comes with having done things a lot is you get more and more calm with working. You don’t panic so much. One thing I’ve realized is that you’ll figure it out when you figure it out. You can’t force it, really. It’s just usually terrible when you try to force things.

How does your record company feel about you going years between albums?

They never say anything. I’m sure that they would rather have me make records because making movies doesn’t do them any good and doesn’t make them any money. In fact, I always forget how much time goes by. I’m always a little shocked. The other day someone was like, ‘Oh, it’s been five years since you made a record’. I was like, ‘Jesus’. I thought it was three at the most.

But I guess I feel busy because I’m always doing something so it’s not like I disappear because I’m always out there and meeting people and doing things and doing interviews and talking and everything. I guess it’s just different subjects.

Is it harder to make a movie or a record?

A movie is harder than anything. Because a record, not to take away from either, but a record is more controlled. It’s you and a band and a producer and a studio. It’s a much more controlled environment. Whereas a movie… That’s the reason I wanted to make the documentary that goes with the DVD. I don’t know if you saw that. I get kind of tired of people, everyone’s a critic and everyone’s complaining and everyone knows everything, but no one has any idea how movies are made, and they just say things like ‘so and so should have done this’. Yeah, that’s great… in fantasy land that that’s how movies are made!

So I thought, ‘Why don’t we make a long documentary showing… and I didn’t show a lot of stuff because I didn’t want to hurt people’s feelings, but the daily grind… ‘Yeah, Rob Zombie’s such a fucking asshole, he should have used so-and-so more’. Well, maybe I would have used so-and so more… if so-and so could remember one line at a time! Maybe I would have! If so-and-so and so-and-so didn’t hate each other so much they didn’t want to be in the same room’. There’s just so many things that go on that are unpredictable that people just don’t get. And as a director I feel it’s my job to hide that from the world. I don’t tell people’s dirty laundry, but it’s difficult.

Whereas a record, it’s difficult to create the songs but pretty much your band’s going to show up and one guy didn’t forget how to play guitar overnight and has to learn again or something. Whereas on set you just never know what’s going to happen. If the weather changes, you’re fucked. If someone doesn’t know their lines, you’re fucked. Every second something can go wrong. And even when it goes right, it’s bizarre to make movies in such a hodge-podge way of shooting everything out of sequence, in pieces. You have a gut feeling like ‘we got it, let’s move on, we got it, let’s move on’, but you really don’t know until you start editing if you got it.

Basically the more personalities you deal with, the more chance there is for some things to go wrong. Making records is a couple of people, making movies is hundreds of people, and it’s just harder.

Of course John 5′s ex boss, Marilyn Manson, has recently announced his intention to become a director. In your acquaintance, are there a lot of musicians who secretly long to become filmmakers?

I think they don’t know what it means, that’s why they say it. Because being a director means everybody else comes before you. Some people think, ‘It’s going to be a big feather in my cap and another new title to hang on myself’. You’re in charge, sure, you’re the boss. But you have to somehow… you take a backseat to everything. At least the way I do it. It’s all about the actors and making everyone else happy so you can get them to do the best work that they can do. It’s not about you, it’s about the movie, and it’s not like you’re going to show up in your special director’s outfit… Maybe people do but maybe that’s why there are a lot of bad movies.

I want the actors… They’re the most important people in the world. Because acting is really hard, and you have to get them so comfortable they will do anything. And when you get scenes like in the motel room with Priscilla Barnes exposed and Kate Norby, who’s completely naked, and Bill Moseley who’s uncomfortable, and Sheri and Geoffrey Lewis… Nobody wants to do scenes like that, nobody enjoys them. That’s not how people normally act or think. And you have to do it for hours and hours. People put a lot of trust in you, that when you do that stuff that you’re not going to make them look stupid. And actors get burned a lot of times.

Is coaxing a good performance from an actor much different from coaxing a good performance from a musician?

It’s totally different. Because with a musician it’s more like, you can get the performance. It’s just more about ‘can they play the right part?’ But an actor… acting, it’s amazing. Acting is a funny thing because the better someone is the less that you notice it because they’re so good. When you don’t see them acting is when they’re amazing.

How proud are you of this album?

I love it. I mean, I really love it a lot. I guess people say that about every record they make every time it’s new, but there’s just something about this record that seems special. There’s a lot of songs and things that are kind of different, I was really thrilled with it.

You’ve worked in many media recently: music, film, comic books.

How important is music to you now compared to, say, 10 years ago?

It’s as important as it ever was. Whatever I’m doing at the time is the most important thing and I want it to be as good as possible. I never take it lightly or take it for granted. I think sometimes maybe people think, ‘Oh, he’s not taking this seriously because he’s doing this’, but that’s not the case. That’s why it’s so long between records and things. If I didn’t care, I could have whipped off a couple of shitty records and just thrown them out there, but I didn’t want to do that. I want to spend the time and make it good. And now that we’re going into rehearsals I try to put together the best possible guys I could find and we’re going to fuckin’ play as hard as we can and try to make it as great as possible.


Posted in DVD, Halloween, Monsters, Reviews with tags , , , , , , on January 12, 2010 by darklordbunnykins


Starring Scout Taylor-Compton, Tyler Mane and Malcolm McDowell

Written and directed by Rob Zombie

Alliance Home Entertainment

Scout Taylor-Compton as Laurie Strode

Thank Satan I did not see Halloween 2 in theatres. Every friend and fiend I know shat on it, not entirely surprising given the enmity that met writer/director Rob Zombie’s ill-advised first Halloween film – an enmity I wholly endorsed. Zombie’s rethink of the John Carpenter classic seemed a travesty, from its attempts to explain Michael Myers’ madness to his clumsy telescoping of the original’s plot into his film’s final act. I rarely boo a film, but I did that night in that theatre back in 2007.

But Halloween 2… It’s a good horror movie. Hell, it’s a good movie. Let’s be straight: this is the “unrated director’s cut” of which I speak. Even Zombie, on his commentary track, bemoans his truncated filming and editing schedule, and the studio’s insistence on an ending that left room for a sequel – a sequel of which, I might add, Zombie has washed his hands. This is Rob Zombie’s preferred version, and it’s both bloody and bloody good.

As to plot, Michael (Tyler Mane) is dead… except of course he’s not, and the body has disappeared. Two years later, we find his sister Laurie (Scout Taylor-Compton) is scarred and traumatized. So is her best friend Annie (Danielle Harris). Instead of bringing them together, Michael’s assault has created a rift which is pulling them apart, despite their living under the same roof with Annie’s dad, Sheriff Brackett (Brad Dourif), whose life is unravelling.

Dr. Loomis (Malcolm McDowell), meanwhile, has written a tell-all book that exploits his association with Michael – a book that also reveals Laurie’s family relation to Michael and sends her further down a path towards self-destruction. Always moving closer is Michael himself, prompted by visions of his mother (Sheri Moon Zombie). A family reunion is inevitable.

Tyler Mane as Michael Myers

Watching Halloween II with Mrs. DLB, I asked her thoughts about the film. “Slow and stupid” was her comment, half an hour in. By the end, though, we turned to each other and agreed that Zombie’s attempts to build both suspense and character had worked. The relationship between Annie and Laurie is given room to breathe, and its decay is wrenching. Taylor-Compton is especially convincing as a regular girl whose life has been completely shattered. Even Zombie’s controversial decision to unmask Michael (and give him a word of dialogue) makes sense within the idea that this is a totally different version of the Halloween world. John Carpenter’s movie is still there up on my shelf, safe and sound.

The key extra on this disc is Zombie’s commentary. A lucid, smart man, he explains the differences between the theatrical version and this, his preferred version. Even he has reservations about the version that the studio put out, and while that may be self-serving apology, it makes me grateful that I never saw it.

Deborah Myers (Sheri Moon Zombie) and son Michael (Chase Varek)

Overall, this version is haunted, emotionally true and far more intimate (apparently) than what audiences have previously seen. Rather than being Rob Zombie’s worst film (at least as rated on the IMDb), Halloween 2 turns out to be his best.

Rating: 3.5/5


Posted in Music, News with tags , on December 21, 2009 by darklordbunnykins

Reposted from

The “limited edition deluxe coffin box set” version of ROB ZOMBIE’s new album, “Hellbilly Deluxe 2″, is available for pre-order at

The “deluxe box set” features the “Hellbilly Deluxe 2″ album, an exclusive t-shirt, exclusive belt-buckle and exclusive bandana all packaged together inside of a coffin-shaped box that is truly a piece of ghoulish artwork.

“Hellbilly Deluxe 2″ is scheduled for release on February 2, 2010 viaRoadrunner Records‘ Loud & Proud imprint.

“Hellbilly Deluxe 2″ track listing:

01. Jesus Frankenstein
02. Sick Bubblegum
03. What?
04. Mars Needs Women
05. Werewolf, Baby!
06. Virgin Witch
07. Death and Destiny Inside The Dream Factory
08. Burn
09. Cease to Exist
10. Werewolf Women of the SS
11. The Man Who Laughs

Zombie hinted in an online post that his new CD could be his last, saying, “Well, pretty soon the CD will be dead. All you will have left is digital downloads. So before we say goodbye to the almighty CD, I thought I would give it a big send-off. I love being able to get great artists involved on my CD artwork and this time is the best yet. Since this may be the last true CD I make, I thought I would gather three of the top artists around to contribute some killer new Zombie art for the booklet.”

The artists contributing work to the CD’s booklet are Nocturnals comic book creator Dan Brereton, animation and storyboard artist David Hartman and Italian artist Alex Horley, who has worked for Image Comics and DC Comics.

Zombie‘s recent “Hellbilly Deluxe 2″ tour marked his return to the road after moderate box office success as the writer and director of“Halloween II” (Dimension). His R-rated, animated feature, “The Haunted World Of El Superbeasto”, was made available everywhere on DVD and Blu-ray September 22.

“Halloween II”, the follow-up to Zombie‘s successful 2007 remake of the original 1978 horror classic, came in at No. 3 in its opening weekend, earning $17 million at the box office. That’s far less than the $31 million his first “Halloween” flick did two years ago.


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