Interview with Filmmaker, Sean Donohue of Gatorblade Films

About a decade ago I made one of my usual runs to the local mom and pop and picked up a haul of horror films for weekend viewing. Among them was a film called “Murder Set Pieces”. Afterwards I jumped on IMDb to chat about the movie I saw, thinking the film was disjointed. Almost instantly I received a reply that the film was cut so that Lionsgate would distribute. Fast forward to a year later, when I finally got my hands on the unrated, uncut version, and man, I realized it was brutal... a whole different film, really. I've heard other horror fans telling the same story about the time they first saw “A Serbian Film” not realizing they were stuck with the abysmal cut version. What exactly are these distributors trying to shelter us from? Horror fans want blood, guts, gore and boobs. We live for that stuff. Let the tweenie-bops watch their “Twilight” and just let us keep our real horror the way it was meant to be seen.

Talking to Sean Donohue was refreshing. Not only is he fed up with film censorship for the purpose of distribution, he’s joining a growing trend of filmmakers doing something about it. He’s self-distributing. And now he is also distributing the horror films of others. One thing he will guarantee; he will never, ever distribute a mass-marketed PG-13 chopped-up abomination. Sean is a champion of the integrity of a film the way the director intends it to be seen, and he is raising his voice loud. 

Body Count Rising: Which best prepared you to be a director: film school, working in a video store, being an AV tech, or just the experience of directing your first film?

Sean Donohue: In some way, all of my experiences have shaped me into the director that I am today. Of these, I would say directing movies has been the best experience. I have learned more making movies than I ever did in film school.

And I learn something new from every film I work on. I think that is why I like filmmaking so much; it keeps me interested. Any other job I’ve had over the years never seems to hold my attention for very long. But hey, (laughing) I gotta pay bills like everybody else!

I really think I still could have achieved all the things I’ve done without going to film school. However, if I didn't go to film school, become an AV tech, work at a video store, etc… I may not have taken the same path, met the people that that have helped me along the way and I might not have become a film maker. So, it’s a lot of luck, a little bit of chance and mostly hard work that has gotten me to where I am.

Body Count Rising: What is the best lesson you took away from shooting “If I Can’t Have You”?

Sean Donohue: The best lesson I took away from that movie is to always be prepared for the unexpected. “If I Can’t Have You” was my first official movie and the start of my career. It was also the first time I worked with director, Chris Leto. It was a learning experience for everyone on set. Most of the people involved with that production were first timers, both in front of the camera and behind it! (laughing)

Body Count Rising: Plus you co-directed your first films. Any thoughts on that?

Sean Donohue: I think it really is more beneficial to be the sole director on a film. As a director you have a vision, and to keep a clear approach to communicating that vision, the project should be led by a single person who is appointed to be the director of that movie.

Body Count Rising: With that in mind, would you consider co-directing again?

Sean Donohue: Co-directing is a tricky business. At the time I thought it was a good idea, but looking back, I would not do it again. No matter how “on-board” you think you are with your co-director you are never truly going to think exactly alike. That seemed to cause a lot of discussions on set, rather than moving things forward. I don't regret co-directing because I learned from it, however I won't be doing it again.

Body Count Rising: How did your ability to think on your feet allow you to overcome obstacles?

Sean Donohue: Directing movies is all "thinking on your feet". No matter how much you plan and prepare there are things that happen on set sometimes that are out of your control. I always say "Have a plan B, and a plan C, D, E and sometimes a plan F!" And yes I have made it that far down the line to make a scene happen.

Body Count Rising: You co-wrote the acid-fueled trip flick, “Franklin: A Symphony of Pain” with Richard Anasky and Jeremy Westrate. How many versions of the story occurred until the piece evolved into what we see today, and was it a longer process by writing collaboratively, or did it actually save time?

Sean Donohue: “Franklin” was a collaborative effort to say the least, and it was not put together like your typical Hollywood-style film. We actually shot improv-style scenes without a script for almost half of the movie. Jeremy and Richard sat down and were able to carefully weave what we had already shot into a tight knit storyline that made sense and flowed.

I basically had an idea for a psychedelic movie that I wanted to be like “A Clockwork Orange” meets “Pink Floyd's The Wall”. I contacted Jeremy about the idea and asked him if he would like to be the director, he accepted and the rest is history. The main parties involved in the early creative process were Jeremy, Richard, Nicholas Franklin, Dee Dee Seruga and myself.

Body Count Rising: Not only were you one of the writers and producers of the film, but you also brought out your camera once more as 2nd Unit Director. Which parts did you film; the psychedelic acid trips or the super groovy storyline?

Sean Donohue: The scenes I am most responsible for are a Lolita-esque scene with actor, Bob Glazier and actress, Amethist Young called "The Bus Stop". I also wrote the scene we shot in a hotel room called "Skinny Cut Hotel".

Note: These scenes referred to above are among the most depraved in the film. Just like we’ve come to expect and appreciate from Sean!

Body Count Rising: That brings me to your philosophy on PG-13 horror. Boobs and blood are a staple of the 80’s horror film, a decade that you adore. Did your distribution company evolve so that you would not need to censor your films or the films you support to get a certain rating for distribution?

Sean Donohue: The PG-13 rating is everything that is wrong with modern cinema. I’m not saying this because I need to have gore and heavy nudity in everything I see. It’s because Hollywood censors, creates or re-makes movies and then stamps on the “PG-13” just so they can appeal to the widest possible audience. Films with this mark are tailored to the status quo. As a viewer, I just feel like I am being swindled in some way. I would never make a PG-13 piece of garbage.

Body Count Rising: A huge thank you to distributors like Gatorblade for being anti-mainstream and offering indies an emancipation of sorts where you don’t need to self-censor or allow your film to be chopped to get distribution. Porn actor, Evan Stone was a refreshing surprise in “Franklin: A Symphony of Pain” and he is now appearing in your latest film “Death-Scort Service”. How did you and Evan meet?

Sean Donohue: I met Evan Stone in a restaurant while working. I saw him sitting on the patio and introduced myself. He is a really nice guy! I never had a plan to include him in “Death-Scort Service” or “Franklin” it just worked out that way. I told him what I did and asked him if he would be interested in shooting some random footage that I could splice into my films for later use. We then shot a promo video for “Franklin” called by the original working name, “Sex With Devil: Feeding the Monkey”. Additional footage I shot with Evan also made the final cuts of “Franklin” and “Death-Scort Service”.

There is also a documentary called “Composing a Symphony of Pain: The Making of Franklin” by The Lavender Handle Collective.

Jeremy and I wanted to have a company name that would be suiting for “Franklin”. I said the best way to come up with a company name would be to combine two things that have nothing to do with each other… like machetes and carpet cleaner. Jeremy looked at me and slowly said "Lavender-Handle?” I replied "That's it!" and The Lavender Handle Collective was born.

Body Count Rising: You’ve been a casting director for films that require some gorgeous women. Are you just the go-to guy when it comes to beautiful female talent?

Sean Donohue: I don't like being pegged as that, but yes, other directors in the area have hit me up about actresses for their films. I get asked a lot on how I get said actresses in my movies and how I get them to do the things that they do. My answer is always the same. I meet an actress online or sometimes in person and I just talk to them for a while, see what they are comfortable with and then I offer them a part. 

Body Count Rising: Not only did you cast and direct “Die Die Delta Pi”, but according to IMDb you had the prestigious role as “Hand Double”. (I’m getting visions of that leather-gloved hand that comes across the screen in “Boarding House”.) Can you please explain the part you played as a hand?

Sean Donohue: (Laughing) That is actually a mistake on IMDB, however I have a cameo in the film as a weight lifter. I try to do a cameo in all of my movies. It is an homage to my favorite director, Alfred Hitchcock.

Body Count Rising: And then you had FX master, Marcus Koch improvising lines as a mohawked suitor calling on one of the sorority sisters. This film must have been a blast to shoot!

Sean Donohue: “Die Die Delta Pi” was a lot of fun and grueling at the same time. It was my biggest budgeted movie and also had the biggest cast and crew I had ever worked with at the time. Shoots were long and hot. Sometimes we would shoot for 15 hours days only to be followed up by another 15 hour day only again to be followed up by a third 15 hour day! I am very proud of what we were able to accomplish with that film, and it was another learning experience to say the least! It still to this day has reached the widest audience out of all the movies I have been a part of. I Just recently got the movie streaming on Amazon Prime. I was pretty excited about that.

Body Count Rising: Plus you’ve collaborated again in “Death-Scort Service”…

Sean Donohue: “Death-Scort Service” is an onslaught of classic gritty gore FX. I am a big fan of Italian horror and slashers from the 70's/80's and I wanted “Death-Scort Service” to be a nod to films like “New York Ripper”, “Tenebre” and “Pieces”. I don't want to give too much away, but there was a scene that we did with a baseball bat and some barbed wire that seems to be an audience favorite.

“Death-Scort Service” was a lot of fun to make. I teamed up with writer/producer Chris Woods of The Sleaze Box. And he also shares my passion for Italian horror. We joked around on set and called this our underground "Last House on the Left" because as you know, LHOTL was a teaming up of Sean Cunningham and Wes Craven. We worked well together and the actors and actresses all did a fantastic job. There is a scene (completely done on the fly) involving actress, Ashley Lynn Caputo and actor, Bob Glazier that seems to stick out with the viewers. I think it is my favorite scene in the movie.

Body Count Rising: Another success story from thinking on your feet! I love hearing it was done on the fly. I understand the majority of “Death-Scort Service” was shot in Florida, although the story is set in Las Vegas. Were you able to get in any filming or obtain footage for “Death-Scort Service” during your CES trip to Vegas, or was the film pretty much wrapped by then?

Sean Donohue: We actually bought some stock footage of Las Vegas and inner-cut it into the movie. It would have been convenient for me to shoot some exteriors on my trip but I was busy with other ventures.

Most of the movie was shot with interiors so it could have been anywhere. And honestly I don't think it is that convincing that the movie is shot in Las Vegas. That wasn't my main priority when making this movie. I wanted to concentrate more on the sleaze and gore, and that's what people will remember about it.

Body Count Rising: Your film “Death-Scort Service” will be showing April 2nd at Days of the Dead in Burbank. Where else can we find this film?

Sean Donohue: You can buy it on Amazon and anywhere that DVD's are sold. 

Body Count Rising: What’s next for you and your company, Gatorblade Films?

Sean Donohue: I don't have much free time anymore but that’s OK. Most recently Gatorblade will be releasing Nick Iway's film, “Androgynym”. I really enjoyed this film because it was just so unique. Nick is really cool too, and I hope to meet him in person one day. I just want to thank everyone that has helped me along the way. You know who you are. I am not going to name drop. Expect to see a lot from Gatorblade Films in the near future. I have a lot of projects in the works!

Keep up with Sean’s future projects on IMDb, the Gatorblade Films official website or follow him on Facebook. 

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Interview with Filmmaker, Richard Anasky

Rarely will you encounter an artist who is extraordinarily open and completely original. Richard Anasky is a producer, writer and director seemingly teleported from the 70’s, and he personifies independent film. With psychedelic colors, quirky humor, subliminal messages, and hippy soundtracks with overtones of doom, Anasky’s work is unmistakable. 

Body Count Rising: What inspired you to begin making movies? 

Richard Anasky: I guess it basically came down to an unrelenting desire to walk among the figments of my own imagination. I was fascinated with the idea of seeing the dream-like worlds and the characters who inhabited those worlds manifesting before my eyes… seeing those characters I created coming to life and being taken to new levels through the actors unique interpretations. The allure was just too much to resist. It was, and still is, all about the thrill of creation and the love of the art. Beyond that, I’d really just conjured up a very idealistic vision of what making movies would be like, mainly based on reading so much about the making of “Night of the Living Dead.”

Body Count Rising: How did you become involved in photography and video, and how do you define your directing style?

Richard Anasky: The actual catalyst for my getting involved in video came via an issue of ‘Film Threat Video Guide’ back in 1995, that featured an insane, gory cover story and interview with director, Leif Jonker. This magazine and Leif’s interview detailing the making of his film “Darkness” introduced me to the micro-budget do-it-yourself level of independent filmmaking. All of a sudden, making a film wasn’t like some far-out unreachable dream. There were people from all over that were out there following their dreams and visions and making their movies through sheer determination. Man that was my AHA moment; my sign. I wanted in and from that moment on, every step I took was directed towards satisfying that need to make movies of my own.

That heartfelt desire/intention would soon lead to an amazing assortment of meaningful coincidences presenting themselves. I was led to the right books, the right people, the right places and the right things. Everything needed to assist in paving my way just began to magically appear, and making a movie titled “I Am Vengeance” ultimately became my next logical step. I was also helped massively by indie filmmakers and mentors such as Tim Ritter, director of “Killing Spree” and Ronnie Sortor, director of “Ravage.” Each was a wealth of helpful information and they really took the time to help me get started. I also should mention a wonderful actress by the name of Tina Krause, who I approached when I was starting out. She already had a successful career in place, yet she still joined on with me. I was so impressed with the manner in which she presented herself. She was dedicated from the start and she set a standard in what I now look for in actors in general. 

As for defining my own directing style, well I’m a laid back, friendly and down-to-earth person and that’s how I direct. No drama, no pretension, no freak-outs or yelling. I like to keep things light and friendly, free-and-easy and fun. As for the visual style and all that jazz, at this time, it’s still all shoot and run, baby. No budget/from the heart, guerrilla movie making. My main sources of movie-related influence comes from psychedelic films like “The Trip”, “Pick-Up”, “Angel Angel Down We Go” and “Alice in Acidland“, 1960′s roughies such as “She Came on the Bus“, “Mondo Keyhole” and just about any Mike Findlay film, classroom scare flicks of the 50′s through the 70′s with “Narcotics Pit of Despair” being my absolute favorite and the whole vibe/style of Russ Meyer incredible legacy of films.  

As for photography, Ralph Waldo Emerson sums up my feelings about it best in his quote, “Pictures must not be too picturesque.” Photography is just something I love to experiment with whenever the opportunity presents itself. Just give me my old 35 mm camera and I’m good to go. I love to go with a natural style reminiscent of the style of photography you’d see back in 60′s and 70′s and I love to focus on faces. I’m definitely not a fan of digital photography as it feels to me (just my opinion, no disrespect meant to those who dig it) like a soulless, disposable imitation of the real thing. I love to capture the truth of a person on film, to find the right moment and capture that certain sparkle in the eyes that reveals the true story. For fun, I also love to shoot the type of scenarios you’d find on the covers of those old detective magazines and men’s adventure magazines from the 1950′s through the 1970′s. 

Body Count Rising: What strategies do you use to overcome film making struggles? 

Richard Anasky: I try to overcome fears or struggles by doing my best to shift my attention towards things that inspire me as opposed to dwelling on things that could distract me or affect my motivation. I prefer to keep a sunny disposition. Wanton pleasure seeking is so much more thrilling then wasting precious moments provoking emotions that drag you down. 

Body Count Rising: Any missed opportunities that you regret? 

Richard Anasky: As for regrets regarding missed opportunities, if you asked me this in years past, I could’ve gleefully provided enough material to fill a book with things that went “wrong” or didn’t play out in the manner I’d hoped. Now I view regret as a monumental waste of time because what’s done is done and you can’t physically go back and change a thing so best to make use of the lessons learned and move forward. I also don’t believe in missed opportunities anymore as I feel that there’s always a new and better opportunity waiting to present itself. 

Body Count Rising: Give examples of how your leadership has assured the success of your films, and what are some of your leadership strategies when managing others? 

Richard Anasky: Any success I’ve enjoyed is all thanks to the players I’ve surrounded myself with. I’ve been very fortunate in that the majority of actors I’ve collaborated with in the past have been very nice people and they’ve been very open and receptive to what I’ve asked of them. Those sort of people make it all seem easy and truly a pleasure. I only wish there were far more actors coming from such a sincere place. Beyond that, I just do my best to treat people the way I’d want to be treated, as cliché as it may sound. That’s really the best example of true leadership I can come up with. I treat the folks I’m co-creating with as true friends and I enjoy chewing-the-fat with them and getting to know who they are as individuals long before the camera rolls.

I also think it’s good to set a proper example by being upbeat, enthusiastic and passionate about the film because that vibe will spread to your team and create an atmosphere perfectly conducive to creating. Last up, appreciation is everything. It’s important that the people who’ve joined the production know that their efforts and their involvement on the project are sincerely appreciated. Think of how nice it feels to be valued, to be appreciated, to know that your contributions matter. Those are things that everyone craves on some level, so give praise and appreciation and mean it. Spread the credit around and keep everyone involved 100%! Really this is all just common sense stuff. Give and be what it is that you’re looking to receive. It’s SO simple. Empower. 

Body Count Rising: Do you believe the final product fits your initial vision? 

Richard Anasky: On my film, “Actress Apocalypse”, the final product actually came somewhat close to being what I always intended for it to be. Really the main thing that prevented it from being spot on from the initial vision was that I had outside producers constantly making suggestions that I felt compelled to incorporate. 

I basically view the script as the fuse or the launching pad. Production should be the blast off where the movie takes on a life of its own and leads you to wild and fun new places that you never could’ve conceived of during the writing and pre-production phases. It’s always my hope that the final product will far exceed my limited initial vision and that’s only possible if I’m open to the energy and inspiration available in the moment. To be open to the creative energy of the location, the players, the FX artists, etc… Of course that can only work if everyone’s on the same page.


That said, I do feel that you need to have a script that articulates what you’re looking to say and you certainly should be very aware of what you’re going for and believe 100% in that initial vision. But once you get going, be prepared to get out of your own head, let go of the expectations and go with the flow. The spirit of the movie will take care of the rest. 

Body Count Rising: What advice would you give to an aspiring horror filmmaker? 

Richard Anasky: For starters I guess I’d say to approach it from the right place, meaning write and create the film for yourself and for the love of doing it. Getting wrapped up in thinking about money or fame is a sure recipe for disappointment. I think it’s best to approach any art form from that pure place of just needing to do it. Beyond that, I’d advise them to keep their cast small and to take the time required to find an open-minded and preferably optimistic/upbeat troupe of real actors who possess a true passion and respect for their craft and the indie filmmaking process. Making independent film requires a real team effort, so finding actors who can adopt the team concept and thrive in it are essential even if it requires being patient and delaying the start of a project until the right actors are located. There’s nothing more important than surrounding yourself with a group you can count on, so if they’re finding folks who weren’t keeping up or are tough to get in contact with, then it’s best to cut the ties with them long before the camera rolls. Any sign of unreliability should be seen as a red flag and a universal nudge to find someone better suited to the project. 

Next up I’d encourage them to just make the best movie they can with whatever they currently have access to as it’s WAY too easy to get hung up on what you don’t have in regards to money, the latest technology or whatever else. It’s better to just be satisfied with where you are in the moment and to just toss caution to the wind and GO for it. To be an artist and take creative chances, no matter how outlandish, experiment and not be afraid of making ‘mistakes’ because it’s all part of a learning process. I’d also say to shake off any advice that encourages conformity. Individual self-expression is a beautiful thing and it should be embraced. It’s always better to find your own unique style and to stand out from the crowd. People will either like what you do or they won’t and it does no good to be attached any particular outcomes regarding the film as it’ll take you out of the moment and negatively impact how you go about things. I’d definitely advise the aspiring horror filmmaker to be true to themselves (and their film) and to just let the rest take care of itself.

Last up I guess I’d remind them to keep it all in perspective. I’d tell them not to take it all so seriously. It’s best to just go wild and have fun creating the craziest, most imaginative little horror movie they can conjure up. Making independent horror films can and should be an amazing experience for everyone involved. It should be enjoyed to the fullest! The film will be what the film will be, but the experience of making it should be amazing. 


View Richard Anasky’s current projects on IMDb or you may reach him via Facebook.

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Dangerous People – Film Review

The 70’s will be the Death of Them.

“Dangerous People” is a sleazy 70’s-style venture into a ludicrous scenario. Black comedy surrounds Zeus, an effeminate murderer, who gets his genitals bit off in the first 15 minutes of the film. The result is an irreverent, dark-retro, drug-culture boob-fest that is sure to offend uptight PC types. 

Zeus reflects on his manhood.

Erica is a little tied up right now.

Zeus and Zolton have a bromance that has endured decades. Their hobby is killing on film and their art is well-honed until they meet Erica, a hot little number who throws a wrench into their sinister plans. After discussion of constipation remedies over drinks, it’s back to Zolton’s apartment with the plan of some “modeling shots.” The guys, who assured her they were gay earlier, get surly and Erica uses her teeth. 

The rest of the film is dedicated to the adventures surrounding sewing the penis back on, which surprisingly isn’t the high priority you would think it would be.

Director, Garo dressed as Zolton, shooting Ass Pony.

Colorful characters like smarmy snuff distributor, Fernando Peters and his cronies, Ass Pony and Jigaboo Jones take up Zolton’s time with spontaneous masturbation and strong-arm tactics for his cooperation.



Meanwhile, a hallucinating Zeus tripping on LSD, begins to question his sexuality and masculinity, deciding that the rest of his male gear has to go as well. Amongst it all, there are graphically gonzo memories of past killings and psychedelic dance numbers.

Colorful bondage in nature.

Death of a hippie.

The star of this film is the script. Lines like “You just threw your penis against the wall. Don’t you see how ridiculous you’re being?” are delivered dryly so that the situation is absolutely hilarious. Peach filters and muted tones are used within the film to achieve a gritty sexploitation throw-back feel. Fairly realistic practical effects are used throughout sparingly. At times the blood seems a little bright, but the slices and dices look authentic. 

Sound quality is excellent and the soundtrack is amazing. The music is plentiful and really “far-out, man.”  Nudity is pretty much constant and sex scenes are gratuitous. It’s humorous that with all of this exposure one oral sex scene is blurred. It’s doubtful this film will ever achieve an R rating, and that’s OK. It’s a midnight movie that is sure to be a future cult classic in that same distasteful sense as “Pink Flamingos.”

Garo on set.

This film, which should have been available to the public already, was delayed first with a change of the lead actor after 75% of the film had been shot, and then with the hospitalization of Director, Garo Nigoghossian, for cancer treatment and surgery. Garo is now in full recovery and “Dangerous People” is once again his primary focus. He is already writing a follow-up with the intention of a trilogy.

Rating 4/5

For more information on “Dangerous People” follow the film on Facebook.

You can also view the film December 3-6, 2015 at the Tampa Bay Underground Film Festival. Don’t live near Florida? Rest assured this film will be seeking distribution and making the festival circuit in a town near you.

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