The Return of the Living Dead is the original soundtrack from the film of the same name , released in by Enigma Records. A limited vinyl edition was released in From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. For their latest EP, The Third Gleam , the Avett Brothers leave everything behind but their songs and a couple of acoustic guitars, a bass, and a banjo.
David Lazar's Celeste Holm Syndrome documents how character actor work is about scene-defining, not scene-stealing. All rights reserved.
PopMatters is wholly independent, women-owned and operated. Literary Scholar Andrew H. It's miles ahead of Last House. And it's still just as perverse and bizarre, but it's also very funny. It's the one film I really do want to make. BE: Do you plan on funding that yourself, or are you looking for someone to do that with you? RW: I'm looking for funding. The thing is, this film is a bit more expensive than what I've done.
I budgeted this at around six million dollars. BE: What's the general idea? RW: I hate to describe things. I'm no good at it. I could write a full length screenplay better than a three page synopsis. What's it about? How can I word this He's wandering around in the desert in the beginning, and he witnesses this horrible accident but he doesn't really care, and then he drifts into the desert and he's trying to figure out how he got to be what he is.
So the whole thing takes place as a flashback; well, not quite because it'll cut back to the desert now and then. And the desert is filling up with people from his past for no real logical reason, but they're there, having a picnic. And it goes back to one day and one night in his life when he was thirteen years old. And it's quite funny. And I don't know what to say beyond that, without going into the whole picture. BE: When you say you've got Dennis Hopper, you mean he's agreed to do it with you?
RW: I was with Nicholas Ray. When I was twenty-one, I was staying in his house, editing his last picture. But in the film, Nick is actually showing some scenes that I edited for him. They're not very good, and the film wasn't very good, but that led directly into Last House on Dead End Street — knowing Nick.
Because that's how I wound up in that producer's hotel room on 23rd Street. But it's an interesting film if you can find it. It's very disturbing, especially if you knew Nick. I mean, what he's doing is dying and he's trying to make a film about his death with Wim Wenders! So it's almost unwatchable by most people. I think the first six minutes is just Nick sitting up in bed coughing. It's pretty disturbing. So a year or so ago when I was trying to get a hold of Hopper, I just made a copy of that and sent it to him.
And I got a call from him right away. BE: I was surprised to hear you say you were into Tim Burton. RW: Oh, yeah. I love a lot of his things. I thought Ed Wood was one of the best films of the decade, really. Just because it was an act of love, and it was done so well.
Ed Wood in real life was sort of this despicable alcoholic. But the point of view of the film, I thought was nice. I liked it very much. RW: Very major influence on my life. Saw it on 42nd Street when I was about nineteen. BE: That would be the place to see it! RW: Yeah, that was great. You get the proper audience there too.
BE: Now, it's all Disney. A lot of the theaters are there, but they're all owned by Disney. RW: They're bad. It used to be: See three horror films, or three exploitation films, for 99 cents. It was great. I remember once, I went to see a film calledPutney Swope, which was a really funny, underground sort of film, directed by Robert Downey Sr.
And I'm sitting there watching it with two of my friends that I dragged there, and as we're watching the film, someone comes in and shoots the guy in the head sitting right in front of us!
BE: Did you see the rest of the movie? RW: I did, yeah! I made my friends stay. Phil Aiston and Tom Leslie. I made them stay. BE: So you had nothing to do with the names. RW: Nothing. I was appalled. BE: You intended to have your own name on it? RW: No, but I intended to have no name on it, because I was pissed off at how they cut it down so much and just rearranged some sequences which I didn't approve of.
I didn't want my name on it. BE: If they had left it as is, would you have left your own name on it? RW: Absolutely. I believed in that film. BE: I mentioned to you that when I was a kid, I rented it in a regular video store. Did you ever see it for rent anywhere over time? RW: This guy down the street here from where I live rents it, independently of me. He didn't know I made it. In and '83, I remember seeing it in stores all over the place. The one the guy has down the street In the world.
BE: Which video store is that? It's called Piermont Video. And this guy, I mean, forget anything commercial Anything obscure. For instance, one of my favorite horror films, maybe my favorite [is] a film called Vampyr by Carl Dreyer.
I wanted to see that all my life. He had it. I wanted to see Witchcraft Throughout the Ages all my life. So if you ever come just outside of New York City BE: Now we're really getting into the nerdy fan material.
I believe it, because there was sort of a schizophrenic video release back then. I've looked for the tape and I can't find it. RW: I haven't seen it, no. BE: What can you tell me about the cast of the movie? RW: The cast of the movie were all friends of mine who were undergraduates. BE: Were you in school there? RW: No, I had graduated in ' BE: From Oneonta? RW: Yeah. I had actually been asked to leave Cornell laughs. This is actually a funny story.
Cornell looks out for her people. And what happened was I was just into drugs and shit when I was there as a freshman. If you're going to flunk out, why don't you quit? If you flunk out, you're fucked. So I left, and this girl I liked was going to school in Oneonta! I was a good student, straight-As; I decided I didn't want to go to Vietnam and everything, and needless to say as soon as I get there I have nothing much to do with the girl at all!
BE: The blind man. Very, very good. He just had a book come out three or four months ago on Alfred Hitchcock called Hitchcock Becomes Hitchcock. He's very good, but we had nothing in common except film, which of course was everything. So we became fast friends, and I was with him a lot. We just became good friends.
I started making films on my own when I was ten. He knew there was no teaching me how to make films or anything, so he didn't bother. What I would do is do whatever I wanted and he would give me independent study credits for whatever film I brought to him. And they were good films. BE: What are the films like? RW: Let me tell you how I started making films.
Nobody actually knows what it was that fascinated me about this process. People have asked me, what was the first film I ever saw, the first horror film? My mother took me to seeTobor the Great, which absolutely floored me. I played Tobor the Great for two years. When I was ten, I was a child who was absolutely fixated by time. I remember being four and walking down the street in Binghamton, New York and I was real happy because it was sunny BE: That's where you grew up?
I had this overwhelming sadness at the passage of time. Because I'm so happy, I'm just a little boy, right? But it hits me, this has got to end Which I'm sure is not normal. When I was nine years old — and this is what's important, because this really determined my life — it was a summer night, and there was a strange guy in my neighborhood named Jim Brochus.
This was a strange guy; he couldn't pronounce his Rs. A very imaginative guy, but so imaginative that everyone thought he was crazy. But I liked him. So he comes up and he asks me what I'm doing, and I was just real bored so I say nothing. I'm just hanging out. You've got to see this, you turn a crank He just lived down the street, and in the cellar he had this black, 16mm movie projector with like a watt, regular light bulb, not even a tungsten, and a hand crank, and no take-up reel, and he had one movie, and it was Felix the Cat.
It was probably from the '30s, black and white, and I remember it had nail polish on it, bright red nail polish, just drips on it Because with this crank, I can go backwards, I can go forward, I can go really fast or I can go really slow, or I can stop everything.
And all of a sudden it hits me: I'm manipulating time. I can actually make it go fast, slow, backward, forward, and I went nuts. I made him show me that until his mother finally threw me out around midnight! We watched that film probably forty times! So it's just spooling out on the floor. So that did it to me, right there; I had to make movies. My birthday was going to be in a month or so, so I ask for a movie camera and my mother got me a Brownie Fun-Saver, which I still have.
It was funny, cause I started scripting movies in my head even before I got that camera, and I had this friend named Dave Day and Dave Day was into this too. So I made all these movies and he was in all of them; we'd get other people but we'd usually kill them and we'd have nobody else to be in it so they'd have to come back as different people laughs , so they were the same actors, dressed the same, so it was always funny. And that's how it started! I liked the word "masque", but it was really The Pit and the Pendulum.
We built our own pendulum and all that — it was awful, but it wasn't awful, really. Nick Ray was fascinated by it. That's one of the things I dug about Nick, he loved all the stuff I made when I was ten, eleven Of course, he was on drugs! I'm telling you it had to do with that specific projector, that specific film, and that specific time in my life. That's what it was. If Brochus hadn't come to my porch that night when I was sitting there, who knows what would have happened.
Nobody knows this. People know that I saw the Felix the Cat film when I was ten, but they don't know the effect or why, the projector itself, nothing. Most people ask me very superficial questions so I don't bother giving them good answers. But I'm telling you the truth. Anything interesting about any of the other actors or actresses? RW: Before we get there, a couple of quick things.
BE: Sure. RW: So I made a bunch of films, and some of them are really good. When I got to be seventeen or eighteen, I was doing some really good stuff. When I was nineteen, I went to England. The director named Freddie Francis, who was a Hammer film director. Did we talk about him? BE: We talked about him. You talked about first camping outside his house.
And then I was with Otto Preminger, do you know who he was? I did the same thing — I went to his door, knocked on it. It's funny, when I got out of college I went to California I absolutely hated it. I hated it! This is something nobody knows. BE: Mikels? RW: That's it! Ted Mikels. I couldn't take it.
These people were so stupid, and untalented, and just nothing; I left, and ran into this other guy, and he knew Burgess Meredith so he calls him up. There's nothing happening here. Otto Preminger is staying at my house. Of course, Burgess Meredith never called him. He forgot, or whatever. But Preminger was cool.
And he was cool! He's the best young filmmaker I've ever met in my life! So that's how that happened. And that's why I'm more than happy to accommodate anybody who comes to me. Because when I was a kid, people like that did a lot for me. Otto Preminger gave me Otto Preminger gave me that, which was a cool thing to do.
BE: The base of movies I usually watch from are the exploitation films of the '70s and '80s, hence my love for your movie. RW: Well, I've always been schizophrenic in my film-making. For instance, I knew growing up that if I make something sensationalistic, people are going to watch it.
So I would make something like this film I made called Ron Ricowhich was about a dwarf with no arms looking for Jesus; it's funny, but it's also kind of touching. Very understated. Very quiet. To the uninitiated, possibly boring. I don't know, and I don't care. What was the atmosphere like on the set? RW: Nothing like you would imagine. The atmosphere on the set was me higher than shit on methamphetamine. And Ken Fisher Archived from the original on 6 February Retrieved 13 June Retrieved 14 June The Kinks.
Kinksize Session Kwyet Kinks Name required. Blog at WordPress. Post to Cancel. By continuing to use this website, you agree to their use.Nov 07, · Album Bringing Back the Bloodshed; Licensed to YouTube by The Last House on Dead End Street () — Original Theatrical Trailer - .