Years ago I met a real live Hell’s Angel during Myrtle Beach bike week. My eyes grew wide as I called him a nomad, asking of his adventures. He looked at me and said frankly, “
Lady, I own a business. These bikes ain’t cheap.” The open road demystified in one simple sentence. I’d like to think that somewhere out there the outlaws still exist, gulping brews and roaming free, answering to no one and living to ride… kind of like The Impalers. And their founder, James Bickert, rules that cinematic highway with a mighty fine camera and a whole bunch of guns, babes… and beer.
Kurt Cobain once said he hadn’t heard real punk before, so he created what he thought punk should be. James Bickert knows his horror and exploitation better than some people know their mommas. He created his own brand of drive-in bikersploitation and the look, feel and tone are unmistakable. Climb on. It’s going to be a helluva ride!
Body Count Rising: “Dear God No!” was shot on 16mm and “Frankenstein Created Bikers” was shot on 35mm. Does that mean we can expect your next film to be shot on film (
as opposed to digital) as well, even if it may not be 35mm?
James Bickert: I favor film aesthetically over shooting digital which requires a colorist or crash course in the latest post-production software. You can’t rule anything out though. It’s just a matter of what makes sense in order to tell the story within the constraints of the budget. 35mm was very difficult for mobility and a constant struggle to keep enough stock on hand for the shoot day to day. The trade-off was all the gifted industry professionals that volunteered their free time to come be a part of the 35mm film experience, again and lend a hand to the camera, lighting and grip departments. We would have seasoned cinematographers stop by and help load mags or bring film stock they had saved from a shoot – it was magical.
Film brings a different sense of comradery that I haven’t experienced with digital. I believe it’s born from a closer connection with the past and the craft; just a more organic and hand-made quality. Damn, I really miss the properties of the Fuji film stock. That was some beautiful stuff with rich blacks and heavy color saturation - especially when you got down to the lower ASA stocks. I’m not complaining about shooting with Kodak Vision 3 and the enormous color range, just miss the Fuji option. I love it on set when a magazine starts squeaking and the assistant camera person bangs on it with their fist, the room gets quiet and then everyone shrugs their shoulders as the Arri motor quietly purrs. You don’t punch a RED camera. (
laughs).
Body Count Rising: I’ll take Arri over RED any day. Will you finish out your trilogy with the much anticipated prequel, or will your next project be a departure from the Impalers?
James Bickert: With “Frankenstein Created Bikers”, their story is resolved. I wouldn’t mind revisiting the prequel in the form of a graphic novel or musical recording. I’m not ruling out using individual characters from “Frankenstein Created Bikers” in different films but no more Impaler biker epics, maybe a short one day.
Body Count Rising: Whoa, a musical recording would be trippy for sure. What can you tell us about the much-discussed prequel; was it already written?
James Bickert: It’s a pretty good draft. Maybe I’ll revisit it one day and incorporate it into a different story. It’s more akin to the original biker cycle of the 1960s and would still make for a great film within the confines of that genre or might even play well as a 1970s hicksploitation film with some re-writes.
Body Count Rising: I was fortunate to purchase “Dear God No!” on VHS after Pollygrind in Las Vegas. The drive-in aesthetic to your film style certainly lends itself to this throwback format. Are you a proponent of the VHS movement or are you a VHS tape collector?
James Bickert: I like the nostalgia of VHS; the remembrances of visiting those old “mom and pop” stores with all the lurid big box art in the horror section and the surplus of Godfrey Ho Ninja flicks. There was a time when I carried a video card for every video store within a 150 mile radius of Savannah, Georgia. I would take road trips just to track down “Return of the Evil Dead” or “Soul Hustler”. It will forever be a part of me. I liked going into that porn room too! There were a couple of video stores where you put down a $1 deposit to get your own key that would unlock the porn room. I was always on the hunt for any 70s shot on film porn that would freak me out. Something about watching nervous people picking out porn in a back room is fascinating to me. I would go in there and want to talk about the films with people. Like, “
Hey have you seen ‘Nightdreams’ or ‘Water Power’? What’s the creepiest one you’ve seen, dude?” Some guilty looking salaryman would be all nervous and whisper under his breath, “
Get the fuck away from me headbanger.” (laughs)
Jett Bryant and I worked together in an Adult Video Store back in the early 90s; actually a “Dong and Bong” as he calls it. I could do an entire comedy routine based on porn preferences by race and gender. Man, we saw some weird shit. Oh, VHS collecting. Sadly, I’ve had to give up collecting everything. I still hold on to my collection of exploitation and drive-in, one-sheet theatrical posters but now my pennies go towards anything that can be seen on screen or comes in a keg.
Body Count Rising: I would pay good money to see that comedy routine! What made you decide to put out “Dear God No!” on VHS?
James Bickert: It just lends itself to the medium and adds connotations of a filthy snuff film you can’t achieve with blu-ray. I always thought the VHS format enhanced the viewing experience of “The Texas Chainsaw Massacre”. When you watch the DVD and realize how beautifully shot that film was, it loses some of the grime that made it so terrifying. We did limited releases of VHS for each festival we would play. Hand signed with different box art and limited to between 10-20. I like when you can give something that special to genre fans who collect. I made all those VHS tapes myself and as a recovering collector being able to make a connection with someone that has the same interest.
Body Count Rising: Wow! I had no idea you did them all personally. I hold mine near and dear for sure. Speaking of doing something special for us cinephiles, you released the first 10 pages of “Frankenstein Created Bikers” to the public online. This seems unprecedented, but we are grateful! The writing of the scenes was succinct and vividly descript. I understand that just about everything that was shot on “Dear God No!” was used. Was that also the case with “Frankenstein Created Bikers”?
James Bickert: “Dear God No!” was shot at a 1.5 to 1 ratio. We just didn’t have the money for the film so it was all “cut and print”. Thanks to a successful Kickstarter campaign with contributions from some really patient people and a great Executive Producer named Robyn Gay, I had better resources for “Frankenstein Created Bikers” so we could do enough takes. We actually shot much more than you’ll see in my final cut which runs well almost 2 ½ hours.
Body Count Rising: What is your secret to avoiding errors on set so that scenes do not need to be re-shot?
James Bickert: Pre-planning. There will always be some pick-up you might need due to running out of sunlight, rain or something of that nature. The trick is to keep those to cutaways so you don’t necessarily have to bring back principal actors. I storyboard everything and then deviate from those based on any location logistics that throw a wrench into the situation, which is inevitable. There may be something exceptional in the moment or performance that just captures the idea better that wasn’t available to you when you were in pre-production. On “Frankenstein Created Bikers”, I went off my boards to shoot a sequence that just felt like it would work better with a French New Wave aesthetic. It was so sleazy everyone needed therapy afterwards. (
laughs) I have all the technically challenging shots well planned out in advance. Having that blueprint keeps things on track and moving at a fast pace until you run up against special make-up effects which, by their very nature, are time consuming and often require some creative “on the fly” solutions. When it comes to continuity, I let Jett Bryant handle all that. He’s a stickler for detail.
Body Count Rising: Do you allow your actors to deviate for the script or improvise?
James Bickert: Since I’m using film, we rehearse a lot on set prior to rolling. The film is just expensive, you know. If an actor isn’t connecting with the dialogue then I’ll adjust it to help them relax and let the performance become more natural. Most of my dialogue has multiple purposes and the words are chosen to be precise on all tiers. On the surface it’s generally humorous with a layer of innuendo and contains something that adds dimension to that character without having unnecessary exposition within the film. Then there is an element that reflects the underlying theme of the film and how the character fits into the internal conflicts I’m personally exploring as a writer, if that makes any sense. That last layer is what I find the most rewarding element of filmmaking. I sugar coat it with humor so it isn’t blatantly obvious all the time. I did a lot of acid in the 80s so there isn’t much than can be taken literally in my dialogue. Even what might appear as a one-liner probably has deeper meaning.
Body Count Rising: You must have some fun stories…
James Bickert: We had a larger crew this go around, I was so deep in work mode the AD kept me sheltered from all the really wacky hijinks. The one that did crack me up was our actor Jim Stacy was wearing his monster suit and chasing a topless Ellie Church around a lake. We had the camera set-up on the opposite site of the water for a really long shot and when I yelled action this dog came from out of nowhere and started following Jim like he was this giant alpha dog. We managed to capture it all on Super 35mm and it’s quite funny. That dog loved Jim so much he became a constant distraction trying to get into frame and hang out with his giant furry buddy. The mutt had no concerns about the well-being of our screaming lead actress being attacked by this giant head-ripping Sasquatch.
Body Count Rising: That is AWESOME! (
laughing) Either you’re not reprising the role of ‘Rusty Stache’ in “Frankenstein Created Bikers”, or it’s just not credited on IMDb right now. Where’s Rusty?
James Bickert: Oh Rusty Stache is in there. Actually, he has the 4th largest amount of dialogue: 92 instances according to Final Draft! I don’t know what the hell I was thinking there. Remembering the words you wrote while trying to act as Producer and Director is a living nightmare. Rob Thompson who plays Spyder is in most of my scenes and he was very patient. Poor bastard. I had cue cards taped up all around the set and I wrote the damn script. When you’re worried about a prop not being right, the amount of time left on the location, an actor who isn’t in make-up, the focal length the DP is using, an airplane is passing over, a PA grabs a hot barn door with a bare hand when they should never touch the lights to begin with and the set is out of coffee, all within 15 minutes it becomes difficult to remember the words you wrote. I can guarantee you’ll never see Rusty Stache in front of a camera, again. (
laughs). I heard he moved to Florida to race figure-eight dirt track cars, anyway. I hope he’s drinking a beer.
Body Count Rising: Beer eh? Although you come off as a really laid-back guy you could drink a beer with and just shoot the shit, you are fiercely intelligent with an intimidating knowledge of film as an author, historian, producer and director. Did you go to film school or have formal training, or are you self-taught?
James Bickert: I think you’re confusing me with someone else, except the beer part. (
laughs) That’s very kind of you to say. My formal training is in photography and art history but everything else is self-taught through trial and error and a ravenous passion for cinema. I’m just a junkie for genre film, really. It has been that way ever since my mother took me to see a screening of the original “King Kong” when I was around five years old. I just went all in after that religiously reading “Monster Times”, “Famous Monsters”, “Creepy”, “Eerie” and whatever film books I could find at the local library. When I read Amos Vogel’s “Film as a Subversive Art” it was like dropping acid for the first time. That’s when the film hunting became really obsessive. I get on these kicks where I’ll get fascinated by some small sub-genre and have to consume it. There’s an entire Bavarian T&A genre devoted to lederhosen and beer drinking in the Alps? Well I must see them all! Yeah, it’s a sickness and that is a real sub-genre. I’ve seen about 15 of them without the benefit of subtitles. (
laughs)
Body Count Rising: I’m thinking Bavarian T&A would lend itself to hours of enjoyment even without the subtitles. (
laughing) So, is your persona and ability to put people at ease the key to your success as a director?
James Bickert: With the camera department, I think it’s the vision, organization and a shared passion for the process. With the actors, patience, listening and hopefully they feel that energy of how much I believe in them. Silence is the worst thing you can do to a performer so I try to avoid that even though I’m probably panicking about the next camera set-up because I have 70 shots to get before sundown. It was really inspiring to me on “Frankenstein Created Bikers” witnessing how “giving” actresses Tristan Risk and Ellie Church were with the other actors in their scenes. I took a great deal away from that experience that will help me in the future. I always get a kick out of scenes involving Paul McComiskey, Jett Bryant and Madeline Brumby together so I loaded the script with some good ones. Yeah, a really good cast. Rob Thompson, Jim Sligh, Elizabeth Davidovich and Billy Ratliff are fantastic and I can’t wait for genre audiences to meet Nick Hood, Rodney Leete and the bone chilling Sarah Beth Moseley. So many to mention… Obviously Laurence R. Harvey steals the film, but what did you expect? (
laughs)
As far as everyone else on set? Well, I’m trying to figure that out. (
laughs). I try to keep the mood light and praise everyone when they’re doing really good work, especially catering when they are on time! Validation is so important and just taking the time to be thoughtful and polite amongst all the chaos that comes with a fast-paced, underfunded production is essential. Sometimes it becomes difficult to address an issue that you may consider minor at the time; not due to indifference, it’s just there are so many big tasks at hand that require your full attention. I’m trying to get better at providing quicker solutions to on-set emotional needs when my brain is in technical mode. I want to put everyone in the best situation to excel at what they do. Filmmaker, Blake Myers is a zen master of optimism. He should teach seminars. A great attitude is contagious and puts the entire set in position to do their best creative work.
Body Count Rising: Was there ever a time when someone underestimated you? If so, how did
that go down?!
James Bickert: I’m sure there was but I’ve long forgotten. I have deflated my ego down to the minimum psi required to just keep driving forward. My only motivation is to contribute to the genres that I love and for the people who believed in me enough to work on my productions to feel it was worth the effort; probably the wrong reasons for this business. (
laughs) I’m not motivated by a fetish, fame or greed. I’m not that concerned with recognition unless it leads to opportunities to get the ideas out of my head and onto a screen. It’s fine if people underestimate me. I’m harder on myself than any criticism flung my direction. I’m just doing my thing.
Body Count Rising: And you do it well. Speaking of your thing, I don’t see you listed as an editor for “Frankenstein Created Bikers”, but then I don’t see an editor listed at all when I check the film specs online. Will you be editing this film?
James Bickert: Yeah, that would be. I don’t like seeing my name all over the film. It just looks silly. (
laughs). I use a lot of creative pseudonyms in the credits. I’m not one for the “James Bickert presents a James Bickert film” shtick. Film is a collaborative art and I like to keep the production credits as such. I’m just the dumbass that’s around from idea to distribution. That ain’t nothing fancy to brag about. I didn’t save a box of kittens from a burning orphanage or anything.
Body Count Rising: Well then, what has been your biggest challenge as a director and how did you overcome this hurdle?
James Bickert: It’s always time, money and the never ending challenge of swimming amongst the shark invested waters of sales agents, producer’s reps, aggregates, lawyers and distributors. That’s an evolving process where you try not to make the same mistake twice. I’ve been pretty outspoken about the thieves in the industry. Most filmmakers keep their mouths shut out of fear, or worse they feel they have an advantage over other filmmakers with their personal knowledge. Fuck that. A crook is a crook. I don’t want to see any artist taken advantage of in this industry regardless of genre.
Body Count Rising: It seems like I hear that story of filmmakers being taken advantage of, and it seems like the stories often go back to the same production company keen on sniffing out yet unrecognized talent. I know other directors appreciate you shining a bright light on the BS. No one deserves to have their dreams and talents just stolen just because they are afraid of some litigious jerks. Any other advice for your fans that would like to get involved in the genre?
James Bickert: I have fans? That’s just insane! You can always start by finding someone in your region with a short or feature in production, take two weeks off from your regular job and volunteer to be a production assistant. Work your ass off, hustle, keep your ideas to yourself and maintain a positive attitude and you’ll get noticed right away. Each department will want to steal you and that is where you’ll learn the most. Every production I’ve ever been on has had that one person that comes out of nowhere. I met a guy at a horror convention in Ft. Lauderdale named Robert Alvarez, who wanted to PA and he really kept on me about it. I’m glad he did because he was an enormous asset on “Frankenstein Created Bikers”. He made some good connections, moved to Atlanta and now he works in the industry. Hell, he lives right down the street and we have beers together every week and watch Spaghetti Westerns. He’s an awesome friend. If you want to write, produce and direct just buy a tripod and attach your iPhone. Start doing it. Either way you’ll meet some really great people.
Body Count Rising: Great advice! In “Frankenstein Created Bikers” you went hard with the effects, bringing in some pretty respected names. What led to your decision to expand your effects department for this film?
James Bickert: Spectacle. Go big or go home. The end of the Impalers saga needed to be insane so we shot in 10 cities with over 70 actors. There was so much to tell and I really wanted this film to be unlike any before it. We did our own special effects on “Dear God No!” with some disastrous situations narrowly averted so it was a big relief to have certified professionals carrying the proper licenses. We used real class 3 machine guns and one day our actresses fired over 500 rounds on set. With machine guns, that’s a few minutes. It was a really effective team with Cory Poucher, Wes Campbell, Matt Green and their crew. The special make-up effects crew was massive this time too. The biggest I’ve ever had on a production; Shane Morton and his Silver Scream FX crew, Marcus Koch, and Blake Myers, just to name a few. When you murder 64 people on screen, it’s going to take some serious folks.
I’m in post-production sound now working with some really talented people like Richard Davis, who did the amazing score for “Dear God No!”, The Forty Fives who did the original soundtrack for that film and Buddy Hall’s team over at Guillotine Sound who have bailed me out on my last two features. This is a rewarding time for me because I can finally let some people I admire takeover and watch their creativity shape-up my vision. The band Dusty Booze & the Baby Haters recorded a kickass song for the closing credits and brought Jett in to sing some verses with Ellie Church, filmmaker Brian K. Williams and myself screaming some back-up vocals. That was a lot of fun. We’re also using Jett’s band The Scragglers on the soundtrack. I really dig when the lead actor sings songs in a film like Pam Grier doing “Long Time Woman” for “The Big Doll House”. This one is sure to be memorable too.
I just watched the film tonight in a meeting with Bryan G. Malone from the The Forty Fives and we were both sober and laughing hysterically through the entire film. It’s so damn weird and absurd like John Waters showing you his favorite “Hustler” cartoons for 2 ½ hours. I love this film and really hope the audience has a great time when we unleash it on the world.
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