Q: First of all how are you doing?
Q: What inspired you to start making extreme cinema films?
I mean I guess they’re “extreme” I always tried to find the niche in the “genre” im more into documentaries and closer to Real Life things in cinema. So, I gravitated to the harder to find stuff when I was younger the more splatter filled, fetishy, homemade horror.
Q: Can you tell us about your background and how you got into filmmaking?
Q: Who are your major influences in the extreme cinema genre?
I mean I think the only people would be Vince Roth & Mick Nards and Kiyotaka Tsurisaki, James Bell. As creators as they embodied the ideas I had and interest or simply their DIY attitude. Outside that its mostly films and aspects of creators; Tumbling Doll of Flesh, Women’s Flesh; My Red Guts, Sexandroide, Guinea Pig Films, Portraits of Andrea Palmer. Films like these gave me an interest to do som stuff of my own, with little to no crew. There’s other influences but mainly not in the Extreme Cinema.
Q: How do you come up with the ideas for your films?
I carry around a notebook. I draw, write down scenes, ideas, film titles, entire bits of scripts. I then combine stuff that flow together in a “guideline” or “Script” format.
Q: Can you walk us through your creative process, from concept to final cut?
Kinda, answered the first half in the prior question. Once I have something tangible something to pass to someone of interest. I post to friends and talent that may be interested or post a casting call, send them the “script” or give them the idea. If I REALLY want them in the film I’ll adjust the script to their comforts or add their interest in parts. If I don't really want the script to change I just keep passing it along until someone matches with interests, and move on to filming.
Q: How do you balance storytelling with the graphic elements in your films?
Story telling, especially with the “SamHel” titles, its only subtly there, I don't like to give a step by step story to those fetishy, “extreme” projects, but like people to watch and end with “I think this means” or they make up the full story of what happened as they saw it and they’re correct. It made sense to me, it could make sense to the viewer the same way or a completely different way or they hated the project and turned it off... All is welcome and appreciated.
Q: What are some of the biggest challenges you've faced while making extreme cinema?
Q: How do you handle the controversy and backlash that often comes with this genre?
Q: Have you ever had to censor or modify your work due to external pressures?
Nope. I did have to step back from taking some talents ideas for being a bit much. Like, eh “im not entirely about or into that can we not do that?” Or if I want stuff released in certain countries I’d probably have to remove it.
Q: What techniques do you use to create the graphic and intense scenes in your films?
James Bell’s props, Cheap blood that looks the brightest, Angles when the props don't look the greatest (by my application) but make it look better through the camera. Make the FX brief or have it over stay its welcome.
Q: How do you ensure the safety and well-being of your cast and crew during such intense shoots?
Talk to them about whats going on, what they’re doing, I usually ask if everything is okay during the filming. I let adults be adults. if they’re handed a knife, I expect them to know not what to do with it. Accidents may/could happen, but we have precautions. I wouldn’t put anyone in a scenario I wouldn’t do. Unless they brought it up and wanted to do it. Then I’m like “thats on you, and up to you” if you’re making this decision of a sound mind and you wanna do it, by all means.
Q: Can you discuss your approach to cinematography and special effects?
Q: What themes or messages do you aim to convey through your films?
Against censorship. My interests that I conjure up, mainly visually.
Q: How do you hope audiences will react or what do you hope they will take away from your movies?
Q: How do you feel about the niche audience that your films attract?
I would say the supporters, those who back my films and help fund are nuts (in a good way) and the coolest people I’ve met. I always appreciate their support. Next to that I like those who seen Evil Dead and/or A Serbian Film and they don't know what really they’re getting into and their comments, reviews, posts about it. Either negative or positive, I dig a lot.
Q: Have you noticed any changes in audience reception over the years?
They really want me to make what they like. If I don't they’re out. Got a very mean email about a film that I didn’t shoot, was actually shot when I was maybe 14, so I had no hand in it. But at 25, I was shown it and I edited the film and released it. Someone sent me an email disgusted over who is in the film cause of their body type and preferred me to use people that looked like them. Which is cool to have everyone involved, all types of people and I do aim to add anyone of age. However to insert yourself into others creations that much and that’s the basis of your support for me in making films, it’s a bit much. There’s been a lot of that, lately. A lot of personal wants, likes, interest and “if you don't add that or remove that, your project sucks and you won’t be getting my money” which I'm cool with, they can just make their own projects then.
Q: What’s the most memorable feedback you’ve received from a fan or critic?
My favorite comment, unfortunately found out had some negative aspects attached to the reviewer who posted it, so I wont say it. But being compared to Lars Von Trier, positive review from Marian Dora, Being in a book about films and creators I dig. I get a lot of support its hard to narrow it down.
Q: Can you talk about your experiences working with actors in extreme cinema?
All have been extremely nice. Adult actors are the best talent to hire and talk with about these ideas. “Mainstream actors” I don't have the most positive experiences with, some have been on it and super cool. A few have not been cool, on the basis of this film is suppose to be the next Blockbuster or them thinking they’re gonna be walking on to the WB lot.
Q: How do you choose your collaborators, from actors to special effects artists?
Vibes, respect, personality. If we are communicating back and forth and I can see the lack of any of that I know the scene/film is not gonna happen or its gonna be problematic. I want them to be them and to be actually into being a part of the film cause they dug. I get hyped to see what they can do, but also they wanna see how I will make it look. Special FX, just James Bell. He is on it, he’s affordable, he’s quick, he’s great. I don't really hire anyone else or get anyone else for Special FX. I do all the application, if someone volunteers their time, cool. But for the most part its only him and I. Go get your props from him.
Q: What was it like working with MissSox from I Cut Your Flesh and Koda Ironbear on "Love Dump"?
MissSox and Koda are probably the closest people too me. Even tho we text/ talk minimally now, just mainly cause I'm not making as much and am in a different state. They both are really close to me (personally) Koda checks in on me a bit. I made some of my favorite projects with them. They were both fully game and trusted me. I trust them, they have had my back at my lowest. If they needed anything or asked for anything I’d pretty much say, yes.
Q: Out of all your films, which one are you most proud of and why?
I Cut Your Flesh & Flesh Eater X. I wanted to make a Documentary for a LONG time priorly. I was told I can’t be taken serious and short films don't sell. So, I made a feature and it didn’t change much. But they were both two things I wanted, took way longer to finish and we completed. I dig 70% of all my creations that were really thought out, planned, and stand out.
Q: Can you share any interesting stories or experiences from the sets of "The Exploration of Sin," "I Cut Your Flesh," or "Flesh Eater X"?
I Cut Your Flesh, has a lot of stuff from day 1 of filming, a lot of us talking happened in the first day and knowing Sox only after meeting her once. Also, a girl who I’ve known online from horror groups and even YouTube horror reviews. I met in person on ICYF filming and she helped work camera for one day. She’s super cool and the smartest person I’ve met, also she’s not from America. So, meeting her and have her help on a project after knowing her for years, was cool. Flesh Eater X, had a majority of it’s scenes shot in one day. Rebecca Vanguards scenes ALL OF THEM, plus a short project and Kaiia Eve’s scenes were done in a day. Then we took one day to shoot all exteriors in San Francisco.
Q: What was the inspiration behind your latest movie, "The Tales of the Bound & Restrained"?
Q: Are there any upcoming projects or films you can tell us about?
GOREROT, just had it’s indiegogo and unfortunately we didn’t meet goal. But it’s half shot and its sorta a weird meta project about a man who’s fired from his office editing job who gets a call from a buddy to come out to Vegas and get back into the adult side of creation, but to creating outlandish fetish gore projects cause its selling to very rich buyers. So you’re sort of seeing the stuff he’s creating and the behind the scenes of it. Presto Grotesto (which will have a name change, cause I'm starting to hate it) basically a “mixtape” of graphic adult content with no real story aside from a studio hired a filmmaker to make a mixtape for a adult “LiveLeak” type of site the investors are making. & Nuclear Girls come out August 1st, just look out for it. Cause there’s only 60 days to get it, or miss out. If you’re a fan of Black Metal and Hot Girls... you may dig it.
Q: Do you have any aspirations or plans to explore different genres or styles in the future?
I have, theres a film and studio I'm a part of and directed for that has its second film completed. The film has been submitted to Sundance and its probably the most “mainstream” film I’ve done. It’s cool took about 3 years to finish. I’ve done comedy, can check out Frog Pimp on my site, although it does go back to horror at the end. I do want to do more documentaries. I have tons of scripts and things I want to do, but it all depends on funding. If there’s producers/Investors out there reading this, email me.
Q: How do you see the future of extreme cinema evolving?
I don't think it will. I think it will go back to narrative style more cinematic with “Extreme” ideas or scenes. It did exactly what I said it was going to do. Which is people getting into the adult aspect of it, and more so mixtapes using open source internet rips of real death. I’ve heard filmmakers doing some pretty distasteful things and it pretty much locked in what it inherently turned into. Outside people going to far, it will drop off and start from the ground again. Which is what I hope it does.
Q: How do you personally handle the intensity of the content you create?
I work on stuff as I feel okay to do so. If I'm not feeling editing that day, I feel like scenes will suffer. If I'm in a bout of depression, probably not the best to edit. The films itself, doesn’t bother me cause I know its fake. I know the fun we had shooting it. I tend to have others let me know about Quality Control, so I don't have to watch the film 20 times. The hardest thing I had to watch was ICYF cause it dealt with a phobia and it was real. Everything else is fake, I don't entirely trick myself into seeing something staged and feeling how I feel when its real.
Q: What advice would you give to aspiring filmmakers interested in the extreme cinema genre?
Don’t go into it. Focus on real story telling if you want to be a filmmaker. If you do want to make something “extreme” use an alias. It can, has and will fuck up opportunities in other aspects of life. I work for myself and a lot of the people who hire me, hire me for SamHel name/stuff. You can’t put this work on resumes for like a UFC editor or Warner Bros. It’s fun to make “extreme” stuff with cool people, but do a drama thriller or slasher type stuff for your resume. Do this shit if you want to not be restricted, have fun, bother some people at film fests, but it ain't selling like a Halloween or Pearl.
Q: Can you share a bit about your life outside of filmmaking? How do you unwind?
I smoke weed. I write, draw and am starting to tattoo as an outlet, outside filmmaking. However, I do have a personal life that takes up time and doing that pulls me out of doing this. Shockingly I do have a family and that’s mainly why I do this outside of interest of filmmaking and being behind a camera. But to make sure they’re taken care of. So, buying Blu-rays, Shirts, Prints, Art... just goes to them and making more stuff to keep the site going.
Q: What does it feel like to be known as the most extreme cinema director?
Im not, but I do appreciate people who say stuff like that. The fact that I'm in magazines, books or people say I am an inspiration. Thats cool. Appreciative of it and can honestly say I'm still doing this almost a decade later and as a full time job. It’s super cool that enough people want what I make, or are hyped with what I make, or even want to be in it. Makes me smile.
Q: Would you like to share to the listeners where they can follow you and support you?
www.samhel.com/shop leads to films of mine and some friend’s films. As well as; shirts, zines, prints of mine. All funds go to staying alive and housed, and of course more film works. Please be 18+ to buy. www.patreon.com/ClubDisgust I post all first looks there. Photography, art, write ups basically everything un-shown publicly, not allowed on social media or made exclusively for the patreon. Theres two shorts on there that haven’t been shown outside there. Again 18+ @samhelfilms for Twitter and Instagram. The more followers I have the more important people think I am.