Top Of The Flops schrijfsel: Scott Bunt over Sea of Dust (Engels)

Random Oorlog -Hei Tai Yang 731 -Zwartboek -Day After, The -Deer Hunter, The -Boot, Das Laatste Recensies (Update 11/07/11) -Ame Agaru -Walk the Line -Nude Nuns With Big Guns -Return of the Living Dead III -Thor Laatste Schrijfsels (Update 10/06/11) -B.O.T.S. 2011 -Reinert Kiil over de Hora Trilogie en meer (Engels) -RRFFF 2010 -BUTFF 2010 -Lloyd Kaufman over Troma en meer (Nederlands)		Titel: Scott Bunt over Sea of Dust (Engels) Auteur: Frank Categorie: Interview Datum: 18/11/08 Scott, at first can you tell us who you are and what you do? My name is Scott Bunt. I’m the writer and director of the film SEA OF DUST. What kind of movies do you like to watch on a Saturday night when you just want to sit back and relax? It’s no secret that I’m a fan of horror and fantasy. I love the unpredictability of them. I like the fact that anything can happen. How did you get in the world of filmmaking and why? Insanity and poor judgement. What people or movies inspired you to make your own movies? You only have to take a look at SEA OF DUST to know. Once you get past the obvious, there are dozens of little nods. There’s even a flash of YELLOW SUBMARINE, if you look close enough. Your movie is clearly inspired by Hammer Films. Are the Hammer movies films you like to watch as well? I grew up on the Universal and Hammer horror films. I have a genuine affection for both. Their innocence really appeals to me. What situations inspired you to make this movie? I saw America slipping into madness in the wake of the 9/11 attacks. It was a frightening time. How was it to work with horror legends like Tom Savini and Ingrid Pitt? Ingrid was extremely ill during her time on the picture, so we had to restructure her part. It’s amazing that she comes across as well as she does. It’s a testament to her charisma. People love the character. Tom was extremely suspicious. He was haunted by the ghosts of these bad independent films he’d done. He seemed pleased to discover that we were really trying to do something different. How was the shooting of this film? When you work on a tight budget, there’s a tremendous amount of pressure. It’s almost debilitating at times. I lost twenty-five pounds during principle photography (and I’m not a heavy guy). But you keep moving forward because there’s so much positive energy, so many wonderful people around you who believe in the picture. You really want to make it the best you can because you’re flattered by their devotion. Besides the Universal and Hammer films, what other movies and directors were inspirations for you to make this movie? There’s a laundry list. I’m enamoured with the work of directors like Jean Cocteau and Mario Bava, but I learned a tremendous amount through on-the-job training, working side by side with our editor, Ron Kalish. He was instrumental in helping me shape the picture. What is your most memorable experience on set? I have a vivid recollection of being on the verge of physical collapse, shooting in this oppressive heat. I looked up and my wife Pauline, who acted as Co-Producer on the picture, must have sensed this, because she came over and gave me a hug. It seems like such a little thing, but we’d only been married a few weeks at that point. We’d actually put off our honeymoon to shoot the picture. And I remember being lifted by it. I felt my energy return and I knew that everything was going to be alright. The film is playing festivals at the moment. What are the reactions you expect to get and are those the reactions you get? You always hope audiences will appreciate the thought and effort that went into it. I know SEA asks a lot of the people, but I’d like to think it does it in a light-hearted way. What can you tell me about your upcoming projects? Now that I’ve got the art film out of my system, I’d like to do something with broader commercial appeal. I’ve got several things in mind; we’ll have to see if the planets align. What do you think about the future of horror? I’m hoping it doesn’t stagnate, like rock and roll. I think it’s gotten through its excessive/garish stage, but who knows? At this point, it’s all about keeping its dignity intact. If you had the budget, complete artistic freedom, and you could use any actor living or dead, what kind of movie would you make and with whom? In all honesty, I have no interest in shooting a big-budget spectacle. I’m not sure it’s a responsible thing to do, considering the state of the world. But every director wants his next film to be bigger and better, so the compromise has to be between ego and ingenuity…and exploding heads. Scott, thank you very much for your time! Thanks so much for your support. It’s greatly appreciated.
	Website build by Roy & Tim

Titel: Scott Bunt over Sea of Dust (Engels)
Auteur: Frank
Categorie: Interview
Datum: 18/11/08

Scott, at first can you tell us who you are and what you do?

My name is Scott Bunt. I’m the writer and director of the film SEA OF DUST.

What kind of movies do you like to watch on a Saturday night when you just want to sit back and relax?

It’s no secret that I’m a fan of horror and fantasy. I love the unpredictability of them. I like the fact that anything can happen.

How did you get in the world of filmmaking and why?

Insanity and poor judgement.

What people or movies inspired you to make your own movies?

You only have to take a look at SEA OF DUST to know. Once you get past the obvious, there are dozens of little nods. There’s even a flash of YELLOW SUBMARINE, if you look close enough.

Your movie is clearly inspired by Hammer Films. Are the Hammer movies films you like to watch as well?

I grew up on the Universal and Hammer horror films. I have a genuine affection for both. Their innocence really appeals to me.

What situations inspired you to make this movie?

I saw America slipping into madness in the wake of the 9/11 attacks. It was a frightening time.

How was it to work with horror legends like Tom Savini and Ingrid Pitt?

Ingrid was extremely ill during her time on the picture, so we had to restructure her part. It’s amazing that she comes across as well as she does. It’s a testament to her charisma. People love the character.

Tom was extremely suspicious. He was haunted by the ghosts of these bad independent films he’d done. He seemed pleased to discover that we were really trying to do something different.

How was the shooting of this film?

When you work on a tight budget, there’s a tremendous amount of pressure. It’s almost debilitating at times. I lost twenty-five pounds during principle photography (and I’m not a heavy guy). But you keep moving forward because there’s so much positive energy, so many wonderful people around you who believe in the picture. You really want to make it the best you can because you’re flattered by their devotion.

Besides the Universal and Hammer films, what other movies and directors were inspirations for you to make this movie?

There’s a laundry list. I’m enamoured with the work of directors like Jean Cocteau and Mario Bava, but I learned a tremendous amount through on-the-job training, working side by side with our editor, Ron Kalish. He was instrumental in helping me shape the picture.

What is your most memorable experience on set?

I have a vivid recollection of being on the verge of physical collapse, shooting in this oppressive heat. I looked up and my wife Pauline, who acted as Co-Producer on the picture, must have sensed this, because she came over and gave me a hug. It seems like such a little thing, but we’d only been married a few weeks at that point. We’d actually put off our honeymoon to shoot the picture. And I remember being lifted by it. I felt my energy return and I knew that everything was going to be alright.

The film is playing festivals at the moment. What are the reactions you expect to get and are those the reactions you get?

You always hope audiences will appreciate the thought and effort that went into it. I know SEA asks a lot of the people, but I’d like to think it does it in a light-hearted way.

What can you tell me about your upcoming projects?

Now that I’ve got the art film out of my system, I’d like to do something with broader commercial appeal. I’ve got several things in mind; we’ll have to see if the planets align.

What do you think about the future of horror?

I’m hoping it doesn’t stagnate, like rock and roll. I think it’s gotten through its excessive/garish stage, but who knows? At this point, it’s all about keeping its dignity intact.

If you had the budget, complete artistic freedom, and you could use any actor living or dead, what kind of movie would you make and with whom?

In all honesty, I have no interest in shooting a big-budget spectacle. I’m not sure it’s a responsible thing to do, considering the state of the world. But every director wants his next film to be bigger and better, so the compromise has to be between ego and ingenuity…and exploding heads.

Scott, thank you very much for your time!

Thanks so much for your support. It’s greatly appreciated.