Alex Orr’s zestful cheapie BLOOD CAR played the Edinburgh Film fest this year (the Fest has a long history of supporting imaginative exploitation cinema, starting with its ahead-of-the-curve Corman retrospective back in the ’70s) and the writer-director was around for the whole event. He seemed very approachable so I cornered him for the first Shadowplay interview.
Well, it turns out I suck at interviewing, but am OK at free-ranging movie conversation, so once we stopped with the programmed blather things went much better. This means that I only garnered a tiny amount of useable on-topic stuff to print here. So I’m using ALL of it.
BLOOD CAR details the misadventures of vegan schoolteacher Archie Andrews, who’s trying to convert his car to run on wheat grass, but inadvertently discovers it prefers blood. The day before the interview I heard someone describe the film as “technically horrible” (it’s not, but it’s shot on digital) but “conceptually brilliant”. The political subtext of “blood for oil” is never stressed, but it doesn’t need to be. The filmmakers were certainly well aware of it.
“A B movie should just be a BIG AWESOME RETARDED THING,” he says, citing Verhoeven’s STARSHIP TROOPERS as the big-budget version of that principle: Pretty kids getting eaten by bugs, plus a weird Nazi vibe. It’s all in the concept.
Alex and his pals were pitching ideas in the car, trying to find an exploitable low-budget scenario, and I guess the idea of a car came naturally to mind since they were in one. I bet lots of cyber-thrillers are thought up while the writers are staring at their P.C.s. It’s obvious, really.
Being an aspiring low-budget filmmaker myself, I had to ask Alex the budget and schedule question. The movie was made for “around 25-30” and shot in 12 days, but there was a subplot that didn’t work, comprising about a third of the footage, so that was ditched and a further couple days new material was produced to bring the film up to length and add touches like the very funny baby-kissing coda. (OK, there IS some overt political satire).
Alex has a group of friends he regularly works with, and had helped out on horror films before, but never made one. His leading man is a friend whom everybody thought it would be amusing to systematically degrade and smear in blood. The “meat girl” character is Alex’s girlfriend (lucky guy). A local rap artist was drafted in to play a carjacker.
A little money was spent on one essential prosthetic effect, and a device to spray blood at high pressure was hired. And about fifty gallons of “Kensington gore” was purchased at a knock-down price.
The resulting movie has sold in Germany and has U.S. distribution, arranged through a sales agent. It’s pretty clearly going to turn a profit, and hopefully Alex will be able to make his next project.
“It’s about a white supremacist who gets a black hand transplanted onto him. It’s called BLACK HAND.”
Alex admires the seemingly loose but actually tightly organised plotting of LITTLE BIG MAN, and hopes to achieve a similar historical sweep. “Sex and violence can’t really offend anybody in a movie anymore, what with the Internet,” he says, “and nobody takes religion seriously,” so his plan is to use race, which is still a hot enough potato to get people talking.
“You gotta have an angle, other than ‘I’m great!’”
Oh, I also want to mention Alex’s excellent abstract Peter Bogdanovich impersonation. “I met that guy, and he’s like a caricature of himself. He’s all, like, ‘Ah-wub-wub-wub.'” The sound can best be characterised as a smug burble. But Alex paid tribute to the burbler: “Your first two movies are the reason I became a filmmaker.” Bogdanovich is quite used to soaking up deserved praise for THE LAST PICTURE SHOW, but: “What? Targets???” referring to his low-budget Corman-produced debut, to which Alex could only reply “YES Targets!”
I agree, it’s a terrific movie, and Bogdanovich gets extra points for gamely seizing a poisoned-chalice project that had to incorporate ten minutes of outtakes from Corman’s THE TERROR, and turning it into a smart and touching homage to Boris Karloff, as well as a chilling meditation on modern-day violence.
It’s the kind of low-budget derring-do I’d like to see more of in British cinema.